tag:blogger.com,1999:blog-1875980412212682099Fri, 09 Dec 2016 14:22:02 +0000Other GroupsOther ArtistsRadioPodcastUnreleasedKT996YrEndA-BAtLargeLastMonth3rd AnniHereWeGoAgainNewFrontierGoinPlacesHungryIMakeWayNickBobJohnSoldOutStringAlongTimeToThinkCloseUpOUATSomething SpecialBackInTownCollege ConcertSunny Side#16Other AlbumsSomethinElseFlashbackStay AwhileAboveTheHungryIBobShaneSoloBestOfComparative Video 101Selected Videos Of And Commentary About Some Classic Folk, Roots, And Americana Songshttp://compvid101.blogspot.com/noreply@blogger.com (Jim Moran)Blogger222125tag:blogger.com,1999:blog-1875980412212682099.post-1042796233499570711Wed, 03 Aug 2016 02:01:00 +00002016-08-02T19:01:24.744-07:00 Roots Radio 17: Nothin' But A Man - Songs About Work & Working People, Part 2<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-MOSsO2oBrLY/V6FKLG2m-hI/AAAAAAAABT4/cAWz22xGS_AmvDYK4EEJefxxuUdHMgJTACLcB/s1600/john-henry-51cSQb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="360" src="https://3.bp.blogspot.com/-MOSsO2oBrLY/V6FKLG2m-hI/AAAAAAAABT4/cAWz22xGS_AmvDYK4EEJefxxuUdHMgJTACLcB/s400/john-henry-51cSQb.jpg" width="400" /></a></div><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name="movie" value="https://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf"></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src="https://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf" flashvars="jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540" wmode="transparent" menu="false" type="application/x-shockwaveflash" allowscriptaccess="always" allowfullscreen=" true" version="10.0.0" width="540" height="405"></embed></object><br /><br /><b>Down At The Coal Face (Mines)</b><br />Shut Up in the Mines of Coal Creek - The Old Time String Band<br />Coal Tattoo - Hank Cramer<br />Springhill Mine Disaster -&nbsp; Luke Kelly<br />New York Mining Disaster 1941 - Martin Carthy<br />Blackleg Miner - The Kingston Trio<br /><br /><b>Another Season's Promise (Farms)</b><br />The Farmer Is The Man - Otis Gibbs <br />The Field Behind The Plow - Stan Rogers <br />Where Corn Don't Grow - Waylon Jennings <br />Pastures Of Plenty - Eliza Gilkyson <br />Deportee - Martyn Joseph&nbsp; http://compvid101.blogspot.com/2016/08/roots-radio-17-nothin-but-man-songs.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-1333558470610004689Mon, 11 Jul 2016 19:57:00 +00002016-07-13T07:52:19.846-07:00Roots Radio 16: Nothin' But A Man - Songs About Work & Working People, Part 1<a href="http://s11.photobucket.com/user/moranjimk/media/e3ec1da1-e2db-47f8-8429-4b06936a0069_zpslzbjisd0.jpg.html" target="_blank"><img src="https://i11.photobucket.com/albums/a196/moranjimk/e3ec1da1-e2db-47f8-8429-4b06936a0069_zpslzbjisd0.jpg" border="0" alt=" photo e3ec1da1-e2db-47f8-8429-4b06936a0069_zpslzbjisd0.jpg"></a> <object width='620' height='85'><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name="movie" value="https://moranjimk.podomatic.com/swf/joeplayer_v21.swf"></param><param name='flashvars' value='minicast=false&jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fentry%2Fembed_params%2F2016-07-01T09_04_46-07_00%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dtrue%26height%3D85%26minicast%3Dfalse%26objembed%3D1%26width%3D620'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src="https://moranjimk.podomatic.com/swf/joeplayer_v21.swf" flashvars="minicast=false&amp;jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fentry%2Fembed_params%2F2016-07-01T09_04_46-07_00%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dtrue%26height%3D85%26minicast%3Dfalse%26objembed%3D1%26width%3D620" wmode="transparent" menu="false" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" version="10.0.0" width="620" height="85"></embed></object> <span></span><br /><div class="" data-block="true" data-editor="f5vfs" data-offset-key="80f9u-0-0"><div class="_1mf _1mj" data-offset-key="80f9u-0-0"><span data-offset-key="80f9u-0-0"><span data-text="true">Ben Franklin's famous axiom that nothing is certain in life except death and taxes overlooks one other essential element: the work that may well drive us to death so we can pay those taxes. "By the sweat of your brow shall you earn your bread" is one of our oldest of old saws on work - a punishment for sin and a curse upon humankind. And truly, through much of the history of human experience, work has been just that. And yet - even within the context of often desperate necessity, our work has often had rewards beyond insuring mere subsistence. And that is the theme of my show this week - folk songs and blues songs and country songs and roots songs about people at work, about how what we do to earn a living can frustrate us, satisfy us, ennoble us, or crush us - sometimes all of them simultaneously.</span></span></div><div class="_1mf _1mj" data-offset-key="80f9u-0-0"><span data-offset-key="80f9u-0-0"><span data-text="true">&nbsp;</span></span></div><div class="_1mf _1mj" data-offset-key="80f9u-0-0"><span data-offset-key="80f9u-0-0"><span data-text="true">This is the first hour of the original 2 hour radio broadcast&nbsp; from June 18, 2016.</span></span></div><div class="_1mf _1mj" data-offset-key="80f9u-0-0"><span data-offset-key="80f9u-0-0"><span data-text="true"><br /></span></span></div><div class="_1mf _1mj" data-offset-key="80f9u-0-0"><br /><span style="font-family: times new roman,times; font-size: medium;"><span class="text_exposed_show"><strong>Show Theme</strong>: From "Forever &amp; A Day" By The Kingston Trio</span></span></div><div class="_1mf _1mj" data-offset-key="80f9u-0-0"><span data-offset-key="80f9u-0-0"><span data-text="true">&nbsp;</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="9aojh-0-0"><div class="_1mf _1mj" data-offset-key="9aojh-0-0"><span data-offset-key="9aojh-0-0"><span data-text="true"><b>Opening</b>: "John Henry" - John Cephas &amp; Phil Wiggins</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="b9hn8-0-0"><div class="_1mf _1mj" data-offset-key="b9hn8-0-0"><span data-offset-key="b9hn8-0-0"><br data-text="true" /></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="e8j6r-0-0"><div class="_1mf _1mj" data-offset-key="e8j6r-0-0"><span data-offset-key="e8j6r-0-0"><span data-text="true"><b>The Rush Of The Mighty Engine</b> (Trains)</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="5p6bp-0-0"><div class="_1mf _1mj" data-offset-key="5p6bp-0-0"><span data-offset-key="5p6bp-0-0"><span data-text="true">Old John Henry Died On The Mountain - Henry Grady Terrell</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="2plg0-0-0"><div class="_1mf _1mj" data-offset-key="2plg0-0-0"><span data-offset-key="2plg0-0-0"><span data-text="true">Jerry, Go Oil That Car - Harry "Haywire Mac" McClintock</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="cdrt-0-0"><div class="_1mf _1mj" data-offset-key="cdrt-0-0"><span data-offset-key="cdrt-0-0"><span data-text="true">Linin' Track - Lead Belly</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="ec8fm-0-0"><div class="_1mf _1mj" data-offset-key="ec8fm-0-0"><span data-offset-key="ec8fm-0-0"><span data-text="true">Casey Jones - Johnny Cash</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="1okc0-0-0"><div class="_1mf _1mj" data-offset-key="1okc0-0-0"><span data-offset-key="1okc0-0-0"><span data-text="true">Drill Ye Tarriers - The Chad Mitchell Trio</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="93tdo-0-0"><div class="_1mf _1mj" data-offset-key="93tdo-0-0"><span data-offset-key="93tdo-0-0"><span data-text="true">Pat Works On The Railway - The Cottars</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="cb745-0-0"><div class="_1mf _1mj" data-offset-key="cb745-0-0"><span data-offset-key="cb745-0-0"><span data-text="true">The Erie-Lackawanna Line - Hank Cramer</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="fpaad-0-0"><div class="_1mf _1mj" data-offset-key="fpaad-0-0"><span data-offset-key="fpaad-0-0"><br data-text="true" /></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="64r3b-0-0"><div class="_1mf _1mj" data-offset-key="64r3b-0-0"><span data-offset-key="64r3b-0-0"><span data-text="true"><b>Working The Mill</b> (Factories)</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="dbsbr-0-0"><div class="_1mf _1mj" data-offset-key="dbsbr-0-0"><span data-offset-key="dbsbr-0-0"><span data-text="true">Ten And Nine - Liam Clancy</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="5s1kp-0-0"><div class="_1mf _1mj" data-offset-key="5s1kp-0-0"><span data-offset-key="5s1kp-0-0"><span data-text="true">The Work Of The Weavers - Alex Sutherland &amp; His Cronies</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="4vcjg-0-0"><div class="_1mf _1mj" data-offset-key="4vcjg-0-0"><span data-offset-key="4vcjg-0-0"><span data-text="true">The Four Loom Weaver - Karan Casey</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="6kp9s-0-0"><div class="_1mf _1mj" data-offset-key="6kp9s-0-0"><span data-offset-key="6kp9s-0-0"><span data-text="true">Aragon Mill - Karen Matheson, Mary Chapin Carpenter</span></span></div></div><div class="" data-block="true" data-editor="f5vfs" data-offset-key="f0j29-0-0"><div class="_1mf _1mj" data-offset-key="f0j29-0-0"><span data-offset-key="f0j29-0-0"><span data-text="true">Babies In The Mill - Larry Penn</span></span></div></div>http://compvid101.blogspot.com/2016/07/roots-radio-16-nothin-but-man-songs.htmlnoreply@blogger.com (Jim Moran)1tag:blogger.com,1999:blog-1875980412212682099.post-1213150957077027607Mon, 23 May 2016 06:33:00 +00002016-05-22T23:33:44.311-07:00Roots Radio 15: The Rising, Part 2 - More Songs From The Easter Rebellion And The Troubles<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7Ame-9jM9R4/V0KjYOqi97I/AAAAAAAABSM/nMwG6VRzx_oKg87qKgXX-sGK904JR2HBQCLcB/s1600/Easter1c3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="317" src="https://1.bp.blogspot.com/-7Ame-9jM9R4/V0KjYOqi97I/AAAAAAAABSM/nMwG6VRzx_oKg87qKgXX-sGK904JR2HBQCLcB/s320/Easter1c3.jpg" width="320" /></a></div>A bit later than I intended, but here is the second half of my April radio show entitled "The Rising." This second half includes songs from Ireland's Easter rebellion, the subsequent War For Independence, and the long period of the Irish civil war and the Troubles. The last song in the program would be of especial interest to folk fans. It is Dominic Behan himself singing the original and bitterly complete version of his composition "The Patriot Game," with all six verses in<span class="text_exposed_show">tact. It is a rare recording, only recently digitized from vinyl, and has seldom been heard in the U.S. That's mostly because the late Liam Clancy, whose signature solo this became, elided two verses because he disapproved of Behan's condemnation of Irish rebel leader and later president Eamon de Valera in one verse and an endorsement of shooting police in another. This naturally enraged Behan (even more than Bob Dylan's purloining of the melody for his greatly inferior "With God On Our Side") because it reduced Behan's radical Irish Republican protest song to a generalized lament about the waste of war.</span><br /><br /><br /><br /><br /><object width='540' height='405'><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name="movie" value="https://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf"></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src="https://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf" flashvars="jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540" wmode="transparent" menu="false" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" version="10.0.0" width="540" height="405"></embed></object> http://compvid101.blogspot.com/2016/05/roots-radio-15-rising-part-2-more-songs.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-5725078136592396876Fri, 22 Apr 2016 23:20:00 +00002016-04-22T16:20:39.154-07:00Roots Radio 14: The Rising, Part 1 - "To Tread The Upward Way"<div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-EKyS5wPXO8Q/Vxqt5uxr-uI/AAAAAAAABR0/XyQ5FLVSIgMYSWg4u-XtQ-xpFm4_xBxdACLcB/s1600/Easter1d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-EKyS5wPXO8Q/Vxqt5uxr-uI/AAAAAAAABR0/XyQ5FLVSIgMYSWg4u-XtQ-xpFm4_xBxdACLcB/s1600/Easter1d.jpg" /></a></div><object height="445" width="594"><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D445%26objembed%3D1%26width%3D594'wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always'allowfullscreen='true'version='10.0.0'width='594'height='445'></embed></object><br /><span style="font-size: large;">Putting this show together was a labor of love, growing out of an interest in Irish history and folk music that extends back to my childhood days more than 55 years ago. Like love, the songs in the program are often tinged with the sadness of loss - but also like love itself, the music endures and points to a final if compromised triumph. And 'twouldn't be a sin to toss back a glass or two in memory of the heroes of '16 immortalized in these tunes. Hope you'll give us a listen!&nbsp;</span><br /><span style="font-size: large;">&nbsp;<b>&nbsp;</b></span><br /><span style="font-size: large;"><b>The Rising: Songs For The Centennial Of The Easter Rebellion</b>&nbsp;</span><br /><br /><span style="font-size: large;"><b>Opening</b>: O'Donnel Abu - The Clancy Brothers &amp; Tommy Makem/Yeats - Easter 1916 - Ernest Lyons 3:34 <b>&nbsp;</b></span><br /><br /><span style="font-size: large;"><b>Part 1: To Tread The Upward Way</b>&nbsp;</span><br /><span style="font-size: large;">Follow Me Up To Carlow - Planxty 2:21&nbsp;</span><br /><span style="font-size: large;">Young Ned of the Hill - The Pogues 2:42&nbsp;</span><br /><span style="font-size: large;">The Rising of the Moon - Patsy Watchorn 2:48&nbsp;</span><br /><span style="font-size: large;">The Wind That Shakes The Barley - Dolores Keane 4:18&nbsp;</span><br /><span style="font-size: large;">Kelly, The Boy From Killane - The Fighting Men Of Crossmaglen 2.34&nbsp;</span><br /><span style="font-size: large;">The West's Awake - United Irishmen 3:26&nbsp;</span><br /><span style="font-size: large;">Roddy McCorley - The Clancy Brothers/Tommy Makem 2:35 <b>&nbsp;</b></span><br /><br /><span style="font-size: large;"><b>Part 2a: A Terrible Beauty</b>&nbsp;</span><br /><span style="font-size: large;">The Foggy Dew - Sinéad O'Connor &amp; The Chieftains 5:20&nbsp;</span><br /><span style="font-size: large;">Legion of the Rear Guard - The Flying Column/Margo Largery 2:50&nbsp;</span><br /><span style="font-size: large;">James Connolly - Dublin City Ramblers 3:22</span>http://compvid101.blogspot.com/2016/04/roots-radio-14-rising-part-1-to-tread.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-8974616932228672893Wed, 27 Jan 2016 08:13:00 +00002016-03-01T09:59:42.179-08:00RadioPodcastRoots Radio 13: Sunset & Evening Star, Part 2 - "Love Among The Ruins" & "Time & The River"<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-weSy4bFBGmU/VqzlYOECioI/AAAAAAAABNo/pzCPG2G0Q00/s1600/Snst.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-weSy4bFBGmU/VqzlYOECioI/AAAAAAAABNo/pzCPG2G0Q00/s400/Snst.jpg" width="400" /></a></div><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">This is the second hour of the show "Sunset And Evening Star: Songs For The Last Of Life, For Which The First Was Made," originally broadcast on the Roots Music &amp; Beyond program on KPFK-FM in Los Angeles on January 16, 2016. This half of the show presents folk and country songs that look at love lost and love preserved in the later years of life, as well as tunes that reflect on the changes wrought by time on us all as the decades pass. The program concludes with a two part tribute to the late folk and roots guitarist Pete Huttlinger, who died on January 15th of this year.&nbsp; First, we hear Pete's instrumental version of the old American folk spiritual "Poor Wayfaring Stranger," whose lyric speaks of crossing over Jordan River and into eternity, and New England bluegrass band Salamander Crossing with their lovely musical setting for "Crossing The Bar," the widely-known poem by Alfred, Lord Tennyson in which the poet contemplates the approaching end of his life and from which this show derives its title -&nbsp;</span><br /><span style="font-size: large;"><br /></span><span style="font-size: large;"><i><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">Sunset and evening star,<br />And one clear call for me!<br />And may there be no moaning of the bar,<br />When I put out to sea...</span></i></span><br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object><br /><br /><span style="font-size: large;"><b><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">Show Opening</span></b><i><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">: </span></i><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">From "Forever And A Day" by The Kingston Trio</span></span><br /><span style="font-size: large;"><i><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;"><br /></span></i></span> <span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;"><b>Love Among The Ruins</b></span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">Kisses Sweeter Than Wine - The Weavers 3:44</span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">When I Was Young - The Kingston Trio&nbsp; 2:23</span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">La Chanson Des Vieux Amants - Judy Collins&nbsp; 4:38</span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">The Dutchman - Steve Goodman&nbsp; 4:19</span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">A Woman Half My Age - Kitty Wells 2:41</span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">Angel From Montgomery - Bonnie Raitt&nbsp; 3:56</span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">When You Are Old - Martina McBride&nbsp; 2:54</span><br /><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;"><b>Time And The River</b></span><br /><span style="font-family: &quot;times new roman&quot; , &quot;times&quot;; font-size: large;">We'll Meet Again - Johnny Cash 2:58<br />Last Leaf On The Tree - Tom Waits&nbsp; 2:54<br />Age - Jim Croce&nbsp; 3:44<br />It Was A Very Good Year - Bob Shane&nbsp; 3:21<br />Poor Wayfaring Stranger - Pete Huttlinger 2:30<br />Crossing The Bar - Salamander Crossing 3:35</span><br /><span style="font-size: large;"><br /></span><span style="font-size: large;"><br /></span>http://compvid101.blogspot.com/2016/01/roots-radio-13-sunset-evening-star-part.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-4586136591720475273Mon, 18 Jan 2016 11:05:00 +00002016-03-01T09:59:57.583-08:00RadioPodcastRoots Radio 12: Sunset & Evening Star - Songs For The Last Of Life For Which The First Was MadeI have a number of new song articles in the works, but until then - here is the first hour of my 1/16/16 KPFK radio show presenting songs about getting older. Lots of fun tunes here. <br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-raunVIVPCJU/VpzE4-28StI/AAAAAAAABNA/E9zkzOxeAUM/s1600/eveningstar3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="425" src="http://4.bp.blogspot.com/-raunVIVPCJU/VpzE4-28StI/AAAAAAAABNA/E9zkzOxeAUM/s640/eveningstar3.jpg" width="640" /></a></div><span id="goog_1687383889"></span><span id="goog_1687383890"></span><br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object><br /><span style="font-size: large;"><b>Show Theme: Old Friends/Bookends - Simon &amp; Garfunkel 3:55 </b></span><br /><span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Looking Askance</b></span><br /><span style="font-size: large;">The Remember Song - Tom Rush 3:14</span><br /><span style="font-size: large;">Oh No - Christine Lavin 2:36</span><br /><span style="font-size: large;">When You Are Old and Gray - Tom Lehrer 1:50</span><br /><span style="font-size: large;">The Two Hundred Year Old Alcoholic - Liam Clancy 5:45</span><br /><span style="font-size: large;">Maids, When You're Young Never Wed An Old Man - The Dubliners 3:28</span><br /><span style="font-size: large;"><br /></span><span style="font-size: large;"><b>Old Folks At Home</b></span><br /><span style="font-size: large;">Silver Threads Among the Gold - Jerry Douglas and Mike Auldrid - 4:19</span><br /><span style="font-size: large;">That Silver Haired Daddy Of Mine - Gene Autry 2:46</span><br /><span style="font-size: large;">That Ain't The Grandpa That I Know - Joe Diffie 5:26</span><br /><span style="font-size: large;">Grandma's Hands - Bill Withers 2:00</span><br /><span style="font-size: large;">My Grandpa's Hands - Chuck Pyle 6:06</span><br /><span style="font-size: large;">Old Grandad - Fats Waller 2:46</span>http://compvid101.blogspot.com/2016/01/roots-radio-12-sunset-evening-star.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-376680711905269056Mon, 21 Dec 2015 23:15:00 +00002016-05-20T20:15:38.619-07:00LastMonthNick Reynolds And "Goodnight, My Baby, Goodnight"<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-wAKI1KyeyXo/VngjPWmkuzI/AAAAAAAABLs/ABn-xC919Rw/s1600/nickandjosh.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-wAKI1KyeyXo/VngjPWmkuzI/AAAAAAAABLs/ABn-xC919Rw/s400/nickandjosh.jpg" width="400" /></a></div>The late <a href="http://nrmem.blogspot.com/">Nick Reynolds</a> was allotted by Providence with a greater range of talents and interests than most of those mere mortals among us could ever imagine. He was best known, of course, more than half a century ago as a singer and percussionist with the Kingston Trio in its heyday in the late 1950s and early 1960s; the high harmonies that he generally created himself became an integral part of the group's signature sound. And because he could play a bit of guitar and needed to find a rhythm instrument whose sound could cut through that of the booming rosewood Martin guitars of his bandmates Bob Shane and Dave Guard, Reynolds adopted the all-but-forgotten four-string tenor guitar, so effectively resurrecting the instrument in public awareness that when the national Tenor Guitar Foundation opened a hall of fame in 2011, its first inductee was Reynolds - even though there were many other distinguished tenor players from earlier generations, including actor Scatman Crothers and Mousketeer-in-chief Jimmie Dodd.<br /><br />In the picture above, Nick's original Martin tenor had been modified to an eight-string version of the instrument, with the extra four strings being doubles and octaves, much as you would find on a 12-string guitar. Holding the instrument in this photo from about 1962 is Nick's son Josh, himself now an accomplished professional in advertising and communications and the chief proponent of his father's musical legacy as well. And "Goodnight, My Baby, Goodnight," a sadly little-known Christmas tune from an excellent but largely forgotten record album, is a song whose inclusion on that LP is precisely because of Nick and Josh.<br /><br />The record itself was <i>The Last Month Of The Year</i>, released in early October of 1960. It was a startlingly different kind of holiday album, as Bill Bush notes in his 2012 book<i> Greenback Dollar</i> that chronicles the earliest years of the Kingston Trio:<br /><br /><a href="http://s11.photobucket.com/user/moranjimk/media/CDgmb_zpskafvw63v.jpg.html" target="_blank"><img alt=" photo CDgmb_zpskafvw63v.jpg" border="0" src="http://i11.photobucket.com/albums/a196/moranjimk/CDgmb_zpskafvw63v.jpg" /></a><br /><br />What the album <i>did</i> include was a genuinely eclectic mix of songs: a medieval French carol, an ancient Welsh lullaby, a couple of seventeenth century English wassailing tunes, two African-American spirituals, and more, all masterfully arranged to stay within the musicians' somewhat limited vocal and instrumental ranges while at the same time respecting the traditions from which the songs sprang and in the process creating as memorable and original a holiday album as U.S. pop music had ever seen to that point in time.<br /><br />But <i>Last Month</i> was a landmark KT album in other and less positive ways as well. It was the Trio's sixth studio album, with the first five reaching #1 on the <i>Billboard</i> 200 album charts and attaining gold record status. Further, the Kingstons had had the top-selling album in the country for 18 weeks in 1959 and a fairly astounding 24 weeks in 1960. <i>Last Month</i>'s top chart position of #11 and eventual sales of 200,000 units may not have been chopped liver and well may have been a signature effort for less dominant performers - but it was so disappointing for a group that had sold about five million recordings in the previous two years that the band's label, Capitol Records, pulled the LP off of the market and offered it for sale for only two more years during the holiday shopping season.<br /><br />That is a large part of the reason why pretty much only the hardest core of Kingston Trio fans have ever heard "Goodnight, My Baby, Goodnight." And a pity that is. Bill Bush remarks above that each Trio member volunteered suggestions for songs to include on the album, and "Goodnight" was one of Nick Reynolds' two choices, with the Welsh "All Through The Night" being the other. Reynolds claimed copyright for both of those numbers, though it would have been for the arrangement and some slight modifications to the lyrics for "Night," which is hundreds of years old. The case isn't so clear for "Goodnight, My Baby," though. Josh had been born a few weeks prior to the early summer recording of <i>Last Month</i>, and Reynolds remarked to Bush that "I was just knocked out by having a kid." If there had been an antecedent melody from which Reynolds derived "Goodnight, My Baby, Goodnight," it is still clear that Reynolds reshaped it and supplied lyrics that conformed to his characteristically emotional reaction to new fatherhood. I believe that those emotions are audible in Reynolds' vocals here:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/3_JF-Ip0pHY?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/3_JF-Ip0pHY?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />While some of the arrangements and performances on this LP are most assuredly more intricate - and nine of them appear in other CV101 articles - none is more heartfelt, and for some people whom I know very, very well who are intimately familiar with this album - this is their favorite track - new parents, many of them, and that is not surprising.<br /><br />Nor is it surprising that today's KT of George Grove, Bill Zorn, and Rick Dougherty also regularly include "Goodnight, My baby" in their annual series of holiday concerts, as they did here in their 2008 Christmas CD <i>On A Cold Winter's Night</i>: <br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/2B-0Plh0OhY?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/2B-0Plh0OhY?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />Lead vocal here is by Dougherty, who owns the sweetest and truest tenor voice of any of the singers who have ever been a part of the group - by which no disrespect is intended toward Nick, who was actually a high baritone with an amazing and elastic upper range.<br /><br />The other professional folk group still performing the number also has roots deep in the 1960s pop folk revival. The Makem and Spain Brothers originally included three of the sons of Tommy Makem, who was one of the greatest experts on and performers of traditional Irish balladry - and though contemporary with the KT, a major influence of the latter group's selection of Irish material as well.<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/ehD5dEDqGFs?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/ehD5dEDqGFs?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />This was from a December 2012 show in Boothbay, Maine.<br /><br />"Goodnight, My Baby, Goodnight" remains among my favorite contemporary Christmas songs for its simple innocence. I was about ten years old when I first heard the tune, a bit past belief in St. Nick but only growing into the adult's appreciation of the magic created by that belief in the ready imaginations of so many little children. I watched as my seven younger brothers and sisters grew into and through that belief and all that it entailed, and no memories of my childhood, adolescence, and young adulthood remain more precious and vivid to me than those of Christmas Eves long past. Our family ritual was always the same: following an early light dinner, the youngest four or five would be bathed, pajama-ed, and brought downstairs to the living room for the ceremonial taping of the socks to the fireplace mantel, to be followed by all of the children sitting around my mother, each clutching one of the figurines of our Nativity set, moving them toward the stable as my mother intoned her greatly simplified retelling of the <i>Gospel of St. Luke</i> - and thence to bed, with the little ones in a hyper state of excitement for the five or so minutes it took them to fall asleep. Something about "Goodnight, My Baby, Goodnight" takes me back to those times like virtually nothing else can.<br /><br />Upcoming in a couple of days - the eighth edition of a "For The Season" articles on a traditional carol.http://compvid101.blogspot.com/2015/12/nick-reynolds-and-goodnight-my-baby.htmlnoreply@blogger.com (Jim Moran)2tag:blogger.com,1999:blog-1875980412212682099.post-7985531112995352857Mon, 21 Dec 2015 18:00:00 +00002015-12-21T10:00:21.057-08:00A Brief Note On CV101<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-r9QzBTOPTq0/Vng0hVff58I/AAAAAAAABMA/c6c8WXhxw-o/s1600/FINGERPICKING43-630-80.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-r9QzBTOPTq0/Vng0hVff58I/AAAAAAAABMA/c6c8WXhxw-o/s320/FINGERPICKING43-630-80.jpg" /></a></div><b>For most of this year</b></span> nearly past, I have used these blog pages to post radio shows and podcasts and have drifted rather far afield from the original intent of the venture - which was to use what was still the fairly new phenomena (in mid-2008 when we started up here) of YouTube and other video sites to explore the ways that acoustic folk and roots and singer-songwriter tunes transform themselves over time and in the hands of different interpretive artists. As of today, a bit short of eight years into the project, Comparative Video 101 has 203 posted articles (exclusive of this year's 12 radio/podcast pieces) with just under a quarter of a million posts viewed/accessed since Google started keeping stats in May 2010, with readership since January 2013 in 161 countries worldwide.</br></br> Needless to say, I have been delighted and gratified by this response. However infinitesimally small these numbers may be in the vast universe of the worldwide web, they are beyond anything that I ever thought either possible or likely, especially for articles that are actually personal essays on songs and performers who for the most part enjoyed their greatest popularity more than half a century ago. There is often a bit of background in the pieces (and as an academic myself, I wouldn't call it "research" <i>per se</i>), but the writing in these pages with which I am most satisfied is that which details emotional connections - mine and others' - to the songs and the manner in which they have resonated with me, often in fascinatingly evolving ways, through all the decades that I have known them.</br></br>All of this is simply preparatory to a relaunch of the song and performer articles, in addition to a continuation of the podcast and radio show postings. One of the constants here over the years has been an annual "For The Season" publication in the last seven Decembers of a profile of an often lesser-known traditional Christmas tune, in addition to five more articles about other songs with at least a tangential relationship to our Christian solstice celebration. I have two such essays in process now and will post them during this upcoming week, signalling (I hope) a return to form for this blog in 2016. To paraphrase John Paul Jones - I have not yet begun to write - or as Shakespeare notes in <i>The Tempest</i> - "What's past is prologue."http://compvid101.blogspot.com/2015/12/a-brief-note-on-cv101.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-965237112760211459Thu, 15 Oct 2015 07:46:00 +00002015-10-15T09:29:27.865-07:00RadioPodcastRoots Radio 11: Emigrant Songs - Music From The Huddled Masses, Part 2: What They Found<a href="http://s11.photobucket.com/user/moranjimk/media/6b243bb8-c510-44e8-a7f1-36510f7b7bae_zpslzk6vddf.jpg.html" target="_blank"><img src="http://i11.photobucket.com/albums/a196/moranjimk/6b243bb8-c510-44e8-a7f1-36510f7b7bae_zpslzk6vddf.jpg" border="0" alt=" photo 6b243bb8-c510-44e8-a7f1-36510f7b7bae_zpslzk6vddf.jpg"/></a><br /><br /><object width='540' height='405'><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object><br /><b>What They Found</b><br />When I First Came To This Land - Oscar Brand - 2:59<br />Pat Works On The Railway - The Cottars - 4:24<br />No Irish Need Apply - The Wolfe Tones -&nbsp; 3:34<br />The Argentines, the Portuguese, and the Greeks - Ed Meeker - 4:03<br />I Pity The Poor Immigrant - Bob Dylan - 4:11<br />The Immigrant - Neil Sedaka - 3:40<br />The Song of the Red Man - Cincinnati's University Singers - 2:54<br />Now That The Buffalo's Gone - Buffy Ste. Marie - 2:47<br />La Migra - The Kingston Trio (2012) - 3:39<br />Yes I Am American - Malini D. Sur - 6:11<br />American Tune - Paul Simon -&nbsp; 3:45<br /><br />http://compvid101.blogspot.com/2015/10/roots-radio-11-emigrant-songs-music.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-6792153246021056917Mon, 21 Sep 2015 22:12:00 +00002015-10-15T09:29:42.906-07:00RadioPodcastRoots Radio 11: Emigrant Songs - Music From The Huddled Masses, Part 1: Leaving Home<a href="http://s11.photobucket.com/user/moranjimk/media/39a6ebc0-0a82-4935-b977-fa6d4786471e_zpsqacqsfze.jpg.html" target="_blank"><img src="http://i11.photobucket.com/albums/a196/moranjimk/39a6ebc0-0a82-4935-b977-fa6d4786471e_zpsqacqsfze.jpg" border="0" alt=" photo 39a6ebc0-0a82-4935-b977-fa6d4786471e_zpsqacqsfze.jpg"/></a></br></br><object width='594' height='445'><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D445%26objembed%3D1%26width%3D594'wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always'allowfullscreen='true'version='10.0.0'width='594'height='445'></embed></object></br><b>Intro: Bound For The Promised Land - Bill Staines - 3:06</b></br>Leaving Home - Willy Schwarz - 6:08 </br>Goodbye, Mick - The Wolfe Tones - 3:57 </br>Oleanna - Lillebjørn Nilsen&Pete Seeger - 3:57 </br>Jetzt ist die Zeit und Stunde - Reinig, Braun+Bohm - 3:43 </br>Por Si Acaso No Regreso - Celia Cruz - 5:47 </br>American Land - Patrick Feeney - 3:59 </br>The Emigrant's Farewell - La Lugh - 5:24 </br>Emmigrant Eyes - Ed Callahan - 5:25 </br>http://compvid101.blogspot.com/2015/09/roots-radio-11-emigrant-songs-music.htmlnoreply@blogger.com (Jim Moran)1tag:blogger.com,1999:blog-1875980412212682099.post-8185264800379662289Fri, 14 Aug 2015 22:57:00 +00002015-09-21T15:01:36.245-07:00RadioPodcastRoots Radio 10: The Tippler's Way, Part 2: Moonshine, Miscreants, & Mirth<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Pd1jKAajsvQ/Vc5xlH3l3MI/AAAAAAAABJ4/ipq2Og6r-6Y/s1600/PDil3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-Pd1jKAajsvQ/Vc5xlH3l3MI/AAAAAAAABJ4/ipq2Og6r-6Y/s640/PDil3.jpg" width="529" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><br><param name='menu' value='false'></param><br><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><br><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><br><param name='allowFullScreen' value='true'></param><br><param name='allowscriptaccess' value='always'></param><br><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'wmode='transparent'menu='false'type='application/x-shockwaveflash'allowscriptaccess='always'allowfullscreen='<br>true'version='10.0.0'width='540' height='405'></embed></object>http://compvid101.blogspot.com/2015/08/the-tipplers-way-part-2-moonshine.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-6359017195639087836Thu, 23 Jul 2015 23:28:00 +00002015-09-21T15:01:12.178-07:00RadioPodcastRoots Radio 9: The Tippler's Way - Songs Of Strong Drink & Hard Drinkers Part 1<a href="http://s11.photobucket.com/user/moranjimk/media/7a4ad588-e8a9-48c8-9582-00a0795e8770_zps65pesozb.jpg.html" target="_blank"><img src="http://i11.photobucket.com/albums/a196/moranjimk/7a4ad588-e8a9-48c8-9582-00a0795e8770_zps65pesozb.jpg" border="0" alt=" photo 7a4ad588-e8a9-48c8-9582-00a0795e8770_zps65pesozb.jpg"/></a><br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'wmode='transparent'menu='false'type='application/x-shockwaveflash'allowscriptaccess='always'allowfullscreen=' true'version='10.0.0'width='540' height='405'></embed></object><br /> This is the first half of my two hour show on KPFK-FM last Saturday, July 18. One hour seems to work better for podcasts, so from here on out I'll be dividing the KPFK broadcasts into two pods.<br /><br />And as much as I love this aspect of my folk music life - I am fully intending to get back to the original concept of this blog some time in August.<br /><br /><b>The Tippler's Way<br />KPFK Roots Music &amp; Beyond<br />July 18, 2015</b><br /><b>Opening Track:&nbsp;</b> Finnegan's Wake - The Clancy Brothers&nbsp; Lou Killen<br /><br /><b>Bottled Poetry (Songs About Wine)</b><br />Bottle of Wine - Tom Paxton<br />Raspberries, Strawberries - Bud &amp; Travis<br />Wines of Madeira - The Kingston Trio<br />Drinking Wine Spo-Dee-O-Dee - Jerry Lee Lewis<br />Candlelight and Wine - Barleycorn<br />Strawberry Wine - The Wreckers/ Deanna Carter<br />Two More Bottles Of Wine - Emmylou Harris<br /><br /><b>Whiskey You're Me Darling (Songs About Whiskey)</b><br />Nancy Whiskey - The Clancy Brothers &amp; Tommy Makem<br />The Juice of the Barley - Jack Makem<br />Whiskey - Trampled By Turtles<br />One Bourbon, One Scotch, One Beer - John Lee Hooker<br />Whiskey Ain't Workin' -&nbsp; Marty Stuart<br />Scotch&amp;Soda - Bob Shane<br />Whiskey You're The Devil - Rivercladhttp://compvid101.blogspot.com/2015/07/roots-radio-9-tipplers-way-songs-of.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-4885268109312391090Sat, 11 Jul 2015 20:43:00 +00002015-07-11T13:44:56.660-07:00RadioPodcastRoots Radio 8: Desperadoes - Good Songs About Bad People<a href="http://s11.photobucket.com/user/moranjimk/media/BadPod_zpsiwf67zuo.jpg.html" target="_blank"><img alt=" photo BadPod_zpsiwf67zuo.jpg" border="0" src="http://i11.photobucket.com/albums/a196/moranjimk/BadPod_zpsiwf67zuo.jpg" /></a> <object height="405" width="540"> <param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent' menu='false' type='application/x-shockwave-flash' allowscriptaccess='always'allowfullscreen='true'version='10.0.0' width='540' height='405'></embed></object><br /><br /><span style="font-size: large;"><b>Desperadoes: Good Songs About Bad People</b></span><br /><div style="margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Show Theme: </b><span style="font-weight: normal;">From "Forever And A Day" - The Kingston Trio</span></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Opening Track: </b><span style="font-weight: normal;">"Four Rode By" - Ian &amp; Sylvia</span></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Cowboy Era Killers</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Sam Hall" - Johnny Cash</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Jesse James" - Pete Seeger</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Billy The Kid" - Marty Robbins</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"John Hardy" - Cisco Houston</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>North Carolina Criminals</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Omie Wise" - Pentangle</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Tom Dooley - Doc Watson</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Poor Ellen Smith" - The Kossoy Sisters</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Public Enemies </b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Stagger Lee" - Taj Mahal</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Pretty Boy Floyd" - The Byrds</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"The Legend of Bonnie And Clyde" - Merle Haggard</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Outro: A Big Hand For The Little Lady</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Lizzie Borden" - The Chad Mitchell Trio</span></div><div style="font-weight: normal; margin-bottom: 0in;"><br /></div>http://compvid101.blogspot.com/2015/07/roots-radio-8-desperadoes-good-songs.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-7826015727159395153Wed, 24 Jun 2015 11:11:00 +00002015-07-11T13:43:43.772-07:00RadioPodcastRoots Radio 7: The Silver Singing River - Folk Songs Of America's Waterways<a href="http://s11.photobucket.com/user/moranjimk/media/RivPod2_zpsm2fqok4n.jpg.html" target="_blank"><img alt=" photo RivPod2_zpsm2fqok4n.jpg" border="0" src="http://i11.photobucket.com/albums/a196/moranjimk/RivPod2_zpsm2fqok4n.jpg" /></a> <object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always'allowfullscreen='true'version='10.0.0' width='540' height='405'></embed></object><b>&nbsp;</b><br /><b>Song And Artist Notes To Be Added Shortly</b><br /><b>&nbsp;</b><br /><b>Show Theme</b>: From "Forever And A Day" - The Kingston Trio<br />&nbsp;<b>&nbsp;</b><br /><b>Opening</b>: "That Song About The River" - The Kingston Trio<br />&nbsp;<b>&nbsp;</b><br /><b>The Great Waters</b><br />"The Lovely Ohio" - Matthew Sabatella &amp; The Rambling String Band<br />"Mississippi River Blues" - Jimmie Rodgers<br />"Across The Wide Missouri" - The Kingston Trio<br /><br />&nbsp;<b>Deep Streams</b><br />"Rivers Of Texas" - Mason Williams<br />"Deep River Blues" - Doc Watson<br />"Roll On, Columbia" - Hank Cramer<br />"Oh Cumberland" - Matraca Berg, Emmylou Harris, &amp; The Nitty Gritty Dirt Band<br /><br />&nbsp;<b>Rivers Of Light</b><br />"Shall We Gather By The River" - Uncle Dave Macon<br />"River Of Death" - Doyle Lawson &amp; Quicksilver<br />"Down In The River To Pray" - Alison Krauss <b>&nbsp;</b><br /><br /><b>Closing: For Charleston, SC - June 2015</b><br />"O Healing River" - Pete Seegerhttp://compvid101.blogspot.com/2015/06/roots-music-7-silver-singing-river-folk.htmlnoreply@blogger.com (Jim Moran)1tag:blogger.com,1999:blog-1875980412212682099.post-5894938851311128707Wed, 10 Jun 2015 23:58:00 +00002015-06-16T08:09:17.618-07:00RadioPodcastRoots Radio 6: Where Highways Never End - Songs For The Open Road<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-O6tPchEVDzQ/VXjKl1xHdpI/AAAAAAAABIo/3z9tf0Sqe1U/s1600/RoadPod.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="540" src="http://4.bp.blogspot.com/-O6tPchEVDzQ/VXjKl1xHdpI/AAAAAAAABIo/3z9tf0Sqe1U/s640/RoadPod.jpg" width="640" /></a></div><b><span style="font-size: large;">Song and artists notes appear immediately below the podcast player.<br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent' menu='false' type='application/x-shockwave-flash' allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object><br /><br /></span></b><br /><div style="margin-bottom: 0in;"><b><span style="font-size: large;"><span style="font-size: large;"><b>Where Highways Never End</b></span></span></b></div><b><span style="font-size: large;"></span></b><br /><div style="margin-bottom: 0in;"><b><span style="font-size: large;"><span style="font-size: large;"><b>Songs For The Open Road</b></span></span></b></div><b><span style="font-size: large;"></span></b><br /><div style="margin-bottom: 0in;"><b><span style="font-size: large;"><span style="font-size: large;"><br /></span></span></b></div><b><span style="font-size: large;"></span></b><div style="margin-bottom: 0in;"><b><span style="font-size: large;"><span style="font-size: large;"><b>Show Theme: From "Forever and a Day" - The Kingston Trio </b></span></span></b></div><b><span style="font-size: large;"><div style="margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Mountains &amp; MaryAnne" - Gordon Lightfoot (1968)</span><br /><span style="font-size: large;"><i>As much as I love this song and its lyrics - including the second line from which this show takes its title - I think that Gord got a little carried away with the orchestrations here, not only on this track but on the whole <b>Did She Mention My Name?</b> album. His all-acoustic concert version is better but unavailable as a digital recording.</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Love, Lost And Found</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Tomorrow Is A Long Time" - Judy Collins (1965)</span><br /><span style="font-size: large;"><i>Collins learned the song from a bootleg tape of a demo that Bob Dylan had done at the end of 1962, as did the dozens of other performers who recorded and released the tune before Dylan himself did so - which wasn't until 1971.</i></span><br /><span style="font-size: large;"><i>&nbsp;</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"I Dream Of Highways" - Hoyt Axton (1976)</span><br /><span style="font-size: large;"><i>From Axton's&nbsp; most productive and successful years as a soloist. His singing partner on this track is Renee Armand.</i></span></div><br /><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Chilly Winds" - John Stewart (1973)</span><br /><span style="font-size: large;"><i>This is one of Stewart's best-loved compositions, and for my money this is his absolute best recording of the seven or eight versions that he waxed of it. The<b> Cannons In The Rain</b> album/CD on which it appeared in '73 is also likely the best introduction to Stewart for people who don't know his work - or that he also wrote the evergreen pop-rock classic "Daydream Believer" for The Monkees.</i></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Looking Back</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Me And You And A Dog Named Boo" - Stonewall Jackson (1972)</span><br /><span style="font-size: large;"><i>Jackson's peak years were between the late 1950s and about the mid-1970s when he scored a significant number of hit albums and singles on the country charts. He's retired now and living comfortably outside of Nashville, age 82.</i></span><br /><span style="font-size: large;"><i>&nbsp;</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Freeborn Man" - Liam Clancy (1965)</span><br /><i><span style="font-size: large;">This was the opening track on Clancy's self-titled first solo album (independent of his brothers Paddy and Tom and his friend Tommy Makem) from 1965. I am stunned to think that this was fifty years ago.</span></i><br /><i><span style="font-size: large;">&nbsp;</span></i></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"On The Road" - John Denver (1974)</span><br /><span style="font-size: large;"><i>From what I think may well be Denver's finest and most completely satisfying album, 1974's <b>Back Home Again</b>. Composer Carl Franzen lives near Minneapolis and has recently resumed his musical career after a four decade hiatus. The tune was also recorded by Michael Johnson of "Bluer Than Blue" fame.</i></span><br /><br /><span style="font-size: large;">"Country Road" - Keith Urban (2006)</span><br /><span style="font-size: large;"><i>I knew of Urban's work mostly from radio, and I admired not only his skills as a rock/blues/country guitarist but also his good taste in creating musical lines that complimented his vocals rather than dominated them. I think this rendition of James Taylor's tune demonstrates all of that most effectively. Parenthetically - I was surprised to find out just how long ago this Music Cares tribute show actually was.</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Looking Ahead</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Settle Down" - Peter, Paul and Mary (1962)</span><br /><span style="font-size: large;"><i>The <b>Moving </b>album to which I alluded in the 'cast also included a little tune called "Puff, The Magic Dragon." For more on composer Mike Settle, see his page <a href="http://www.lazyka.com/linernotes/personel/Settle.htm">here</a> on my friend Jerry Kergan's excellent<b> Kingston Trio Liner Notes </b>site.</i></span><br /><span style="font-size: large;"><i>&nbsp;</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"Northwest Passage" - Stan Rogers (1981)</span><br /><span style="font-size: large;"><i>Rogers' best-known compositions in addition to this one are probably "The Mary Ellen Carter" and "Barrett's Privateers." His inclusion here and my remark in the show that you could do an entire podcast on his music has elicited a significant number of enthusiastic endorsements, so I expect to do one somewhere down the line.</i></span><br /><span style="font-size: large;"><i>&nbsp;</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"One More Town" - Hank Cramer (2004)</span><br /><span style="font-size: large;"><i>Hank's personalization of the lyrics as noted in the 'cast has an interesting twist to it. When John Stewart wrote the song at the age of 21, he had never been to some of the places of which he sang - in verse 1 West Virginia (where Hank substitutes his native Carolina) and New Orleans in verse 2. In fact, following the Hurricane Katrina disaster of a decade ago and not long before his death, Stewart recorded a mournful number called "Never Been To New Orleans,"&nbsp; and it was sadly true. Hank Cramer's website in all its considerable glory can be found <a href="http://hankcramer.com/">here</a>.</i>&nbsp;</span><br /><br /><span style="font-size: large;">"Gotta Travel On" - Paul Clayton (1958)</span><br /><span style="font-size: large;"><i>Of the distress that I expressed in the show about Clayton's anonymity today, the most painful part for me is that where he is remembered at all it is as a mentor to Bob Dylan and not for the tremendous impact that he had had on the repertoires of virtually every other folk performer of the 1950s and 1960s - nor for the subtle beauty of his arrangements of traditional songs and the grace with which he sang them. This track, I believe, is an excellent example of all of that.</i> </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>For Ronnie Gilbert, 1926 - 2015</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">"On My Journey" - The Weavers (1960)</span><br /><span style="font-family: Georgia,&quot;; font-size: normal;"><i>Two of my internet friends responded to this track with such articulate and thoughtful remarks that they deserve to be included here. First, from Bruce in Montreal:</i></span><br /><span style="font-family: Georgia,&quot;; font-size: normal;"><i>"Somehow, when [a] person dies, something inside them still lives on, and we become closer than ever before. In the case of Ronnie Gilbert, I believe it's her wisdom + her quest for justice + her talent. She sure made THE WEAVERS sound incredible. She gave them (and by extension, us) her magnificent voice...and through the mastery of recording, we get to listen to Ronnie Gilbert sing forever."&nbsp;</i></span><br /><span style="font-family: Georgia,&quot;; font-size: normal;"><i>And from Jack in the Great Northwest:</i></span><br /><span style="font-family: Georgia,&quot;; font-size: normal;"><i>"T<span style="font-family: Georgia;">hank you for the much-deserved tribute to Ronnie Gilbert at the end of the show.&nbsp; You couldn’t have chosen a more fitting song and that it was a live performance with applause at the end <span id="yui_3_16_0_1_1434405960521_12241">only made it a more fitting way to salute a great performer." </span>&nbsp;</span> </i></span></div><span style="font-size: normal;"></span><span style="font-family: Georgia,&quot;; font-size: normal;"></span><div style="font-weight: normal; margin-bottom: 0in;"><i><br /></i></div><span style="font-size: small;"></span><span style="font-family: Georgia,&quot;; font-size: small;"></span><div style="font-weight: normal; margin-bottom: 0in;"><i><br /></i></div><span style="font-size: small;"></span><span style="font-family: Georgia,&quot;; font-size: small;"></span><div style="font-weight: normal; margin-bottom: 0in;"><i><br /></i></div><span style="font-size: small;"></span><span style="font-family: Georgia,&quot;; font-size: small;"></span><div style="font-weight: normal; margin-bottom: 0in;"><i><br /></i></div><span style="font-size: small;"></span><span style="font-family: Georgia,&quot;; font-size: small;"></span><div style="font-weight: normal; margin-bottom: 0in;"><i><br /></i></div><span style="font-size: small;"></span><span style="font-family: Georgia,&quot;; font-size: small;"></span><div style="font-weight: normal; margin-bottom: 0in;"><br /></div></span></b>http://compvid101.blogspot.com/2015/06/roots-radio-6-where-highways-never-end.htmlnoreply@blogger.com (Jim Moran)4tag:blogger.com,1999:blog-1875980412212682099.post-250762595072875568Mon, 18 May 2015 11:03:00 +00002016-01-29T11:43:02.622-08:00RadioPodcastRoots Radio 5: Bound For Californ-i-o: Golden Songs Of The Golden State<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-r8xRcKZbRvA/VVnEHcXlzsI/AAAAAAAABHo/KOKVV1bWD3E/s1600/CalPod4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="346" src="http://1.bp.blogspot.com/-r8xRcKZbRvA/VVnEHcXlzsI/AAAAAAAABHo/KOKVV1bWD3E/s400/CalPod4.jpg" width="520" /></a></div><br /><br /><b><span style="font-size: large;">More information on Artists and songs in italics below. </span></b><br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object><br /><br /><b>Bound For Californ-i-o</b><br /><br />Jim Moran's Folk Music Podcast May 18, 2015<br /><br /><b>Show Theme</b>: From "Forever and a Day" - The Kingston Trio<br /><br /><b>Opening</b>: California, Here I Come - East Bay Banjo Club<br /><i>A delightful group per show commentary. Their last big gig was in April at Sheep Shearing Day at Forest Hill Farm. That about says it all.</i><br /><br /><br /><b>The Gold Rush</b><br /><br />Santy Anno - The Weavers<br /><i>From the group's 1957 album "The Weavers At Home</i>."<i> Perhaps the definitive 20th century rendition of the tune and ample evidence of why this was the greatest pop-folk group of them all.</i><br /><br />Days of '49 - The Knob Lick Upper 10, 000<br /><i>Knob Lick is in Kentucky; "upper 10,000" was the group's translation of a German word that most of us would render as "upper crust" or "elite." The trio consisted of&nbsp; Erik Jacobsen, Dwain Story, and Peter Childs, who met as students at Oberlin College, which had one of the oldest and most active folk environments of any college in the country. The KLU10k released three excellent albums at precisely the wrong time, in 1963 and 1964, right when pop-folk-acoustic music was being washed away by the British Invasion. Too bad.</i><br /><br />Bound For The Promised Land - Craig Duncan<br /><i>Duncan specializes in hymns and church music, especially as those were sung during the country's formative years. This hymn can be rendered as an exceptionally stirring and messianic march; Duncan's choice to perform it more quietly with dulcimer layered on dulcimer is sublime. The chorus runs "I am Bound for the Promised Land/Bound for the Promised Land/O who will come and go with me?/I am bound for the Promised Land." </i><br /><br />Oh, California! - Andrea Zonn<br /><i>Zonn was the original fiddler with The Union Station before Alison Krause joined the band. Zonn has been most visible during the last fifteen years or so as the principal fiddler for James Taylor, and the two interact warmly and brilliantly in live performance - to which a host of JT PBS specials attests. The other Grammy-winning fiddle-playing Alison - Alison Brown - also performs on this track. </i><br /><br />Banks of Sacramento - Tom Brown<br /><i>Brown's "Short, Sharp Shanteys" is one of the most delightful albums of sea songs in recent years - and Brown frails that ol' banjo with the best of them. </i><br /><br />The King of California - Dave Alvin<br /><i>From the king of California folk/roots songwriters. An exceptional re-imagining of the Gold Rush era.</i><br /><br /><b>The Land of Dreams</b><br /><br />California Mudslide - Lightnin' Hopkins<br /><i>There are millions of people in California today wishing that we had had enough rain at any point in the last four years to create a mudslide. Well, not really, except as a metaphor for the agony of our current devastating drought. Hopkins presents the opposite end of the spectrum, with the mudslide viewed as a disaster in itself that seems often to be a precursor to even worse. That's a cheery thought. </i><br /><br />California Dreaming - Lisa Ferraro &amp; Erika Luckett<br /><i>Ferraro styles herself as a jazz singer, but with her frequent partner Luckett she can do just about any kind of song - as she proves here. </i><br /><br />Going To California - Johnny McEvoy<br /><i>I ran across McEvoy while looking for songs for this blog, and he does a fine and polished job on such classic Irish folk standards as "The Leaving of Liverpool" and the Celtic "Portland Town" (not the Derroll Adams tune). But McEvoy is also a skilled and successful writer, and this tune has been covered dozens of times on both sides of the Atlantic. </i><br /><br />California - Joni Mitchell<br /><i>Written and sung with the fervor of one who has adopted California as a home. Mitchell manages to get just about every major theme of this show into her song - the freedom, the beauty and the weather - and the possibility of re-invention of self. A classic Mitchell composition and performance.</i><br /><br />California Bloodlines - John Stewart<br /><i>Stewart's love letter to the only state he ever really called home. Though he spent most of his life living in the Bay area, Stewart died in 2008 in the hospital in which he had been born in San Diego 68 years before . That seemed absolutely fitting somehow.</i><br /><br /><b>Outro</b>: California/I'm Going Home - The Kingston Trio<br /><i>An excellent example of why this second-generation band is every bit the equal of its predecessor group(s). There are those abroad in the land who whisper that George Grove, Bill Zorn, and Rick Dougherty actually perform this number better than the originals. Shh! </i>http://compvid101.blogspot.com/2015/05/roots-radio-5-bound-for-californ-i-o.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-7289180935310454302Tue, 05 May 2015 11:55:00 +00002015-06-24T09:07:09.375-07:00RadioPodcastRoots Radio 4: Down To The Sea In Ships Podcast<a href="http://4.bp.blogspot.com/-3EUrLXop0cM/VUiuTvfmNZI/AAAAAAAABGo/TbapnDMvzQU/s1600/SeaPod6.jpg" imageanchor="1"><img border="0" height="318" src="http://4.bp.blogspot.com/-3EUrLXop0cM/VUiuTvfmNZI/AAAAAAAABGo/TbapnDMvzQU/s400/SeaPod6.jpg" width="500" /></a></br></br><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent' menu='false' type='application/x-shockwave-flash' allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object></br></br> http://compvid101.blogspot.com/2015/05/roots-radio-4-down-to-sea-in-ships.htmlnoreply@blogger.com (Jim Moran)5tag:blogger.com,1999:blog-1875980412212682099.post-930074448448131610Thu, 23 Apr 2015 11:01:00 +00002015-05-22T15:55:33.379-07:00RadioPodcastRoots Radio 3 - Echoes of April<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-gVZgW6Uspbk/VTjM2fOkm1I/AAAAAAAABGY/NNVORLDNVMc/s1600/April2c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-gVZgW6Uspbk/VTjM2fOkm1I/AAAAAAAABGY/NNVORLDNVMc/s1600/April2c.jpg" width="400" /></a></div>The podcast for my KPFK-FM show "Echoes of April" is up and running and embedded here for the convenience of those inclined to listen in.The farther I go with this show - and it's been over four years now - the more I find myself inclined to spread out the music selections to include as many aspects as possible of my musical interests, well beyond the pop-folk material that characterized the earliest broadcasts. My abiding love for early British ballads is reflected in three selections early in the show (including the opening tune); for blues-inflected pop with Ella Fitzgerald and Billie Holiday numbers; for authentic blues and gospel with the <i>Titanic </i>songs in the second half; for well-written singer-songwriter tunes in selections throughout; and for Irish music with Liam Clancy closing the program. The KT figures in as always, and John Stewart is represented in two songs as well. <br />In later podcasts I may well be able to divide the program into song-by-song chapters. For now, some creative work with the cursor and the playlist below can enable skipping around from selection to selection.<br /><br />I'm proud of the show, but of more import is the fact that I loved putting it together and enjoy listening to it. Can't say how widely that sentiment will be shared, but it's the best lamp I have to guide my feet.<br /><br />Give it a click if you are so inclined.<br /><br /><object height="360" width="480"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%2%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D360%26objembed%3D1%26width%3D480'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D360%26objembed%3D1%26width%3D480'wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always'allowfullscreen='true'version='10.0.0'width='480' height='360'></embed></object><br /><b>Echoes of April<br /><br /> KPFK Roots Music and Beyond April 18, 2015<br /><br />Playlist<br /><br />Opening: On One April Morning - Jon Boden </b><br /><br /><b>Love And Roses</b><br /><br />April, Come She Will - Simon and Garfunkel <br />A Rose In April - Kate Rusby <br />April Is The Cruelest Month - Airborne Toxic Event <br />In April - Johnny Flynn <br />Pieces of April - Three Dog Night <br />A Week Before Easter - Moira Cameron<br /><br />April in Paris - Ella Fitzgerald/Louis Armstrong<br />&nbsp;I'll Remember April - Boz Scaggs<br />April In My Heart - Billie Holiday<br />Sometimes It Snows In April - Rebecca Cavanaugh<br /><br />April Showers - Sugarland<br />Hearts of the Highlands - Jeff McDonald/Autumn Reynolds<br />6'2 - Marie Miller <br />April After All - Ron Sexsmith<br />Green Grasses - The Kingston Trio<br /><br /><b>April Is The Cruelest Month</b><br /><br />God Moves On The Water - Blind Willie Johnson<br />The Titanic - Leadbelly<br />When That Great Ship Went Down - The Dixiaries<br /><br />The Midnight Ride of Paul Revere - Razzle Bam Boom (Mark Beckwith / Obediah Thomas)<br />The Battle of Shiloh's Hill - Magpie<br />When Lilacs Last In The Dooryard Bloom'd - John Slade<br />The Foggy Dew - The Wolfe Tones<br />And The Band Played Waltzing Matilda - Liam Clancy<br /><br />http://compvid101.blogspot.com/2015/04/roots-radio-3-echoes-of-april.htmlnoreply@blogger.com (Jim Moran)3tag:blogger.com,1999:blog-1875980412212682099.post-9054201726226079079Thu, 09 Apr 2015 06:24:00 +00002015-04-08T23:24:57.652-07:00A Time For Giving<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Hdtp8w7ZJl4/VSYZEeJBo0I/AAAAAAAABF4/qlmSgLX5O8Y/s1600/kpfk-logo1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Hdtp8w7ZJl4/VSYZEeJBo0I/AAAAAAAABF4/qlmSgLX5O8Y/s1600/kpfk-logo1.jpg" height="301" width="320" /></a></div>As many of my readers know, I am proud to be co-host of <i>Roots Music &amp; Beyond</i>, the Saturday morning folk and roots music show on KPFK-FM, Pacifica Radio for southern California but of course streaming worldwide over the web at KPFK.org.<br /><br />KPFK is a listener-supported public radio station with a wide variety of programming - musical, informational, educational, and political. We are currently in the midst of our April fund drive and trying to reach out via social media to the broader audience that we know we have nationally and even internationally. <i>Roots Music and Beyond</i> presents a kind of folk programming that you won’t hear anywhere else on Southern California FM radio - and few other places on the web or over the air nationally, for that matter.<br /><br />&nbsp;<br />Some simple stats:<br /><br />It costs us over $7 a minute just to be on the air.<br />Doesn’t sound like much?<br />Well that’s over $10, 000 a day ($10,086.47 to be exact)<br />Over $ 70, 600 a week<br />Over $ 307, 000 a month<br /><br />Is this a pitch for money? You betcha!<br /><br />&nbsp;It’s your radio station if you want it. Support us, please, with a large or small donation. Simply click on the KPFK fund drive link here -<br /><br /><a href="http://catalog.kpfk.org/mm5/merchant.mvc">KPFK Fund Drive</a><br /><br />Or Listen Live <a href="http://www.kpfk.org/index.php/listen-live#.VSYaQ5NySYM">HERE</a> to our fund drive programming for thank-you gifts and information about the benefits of ongoing contributions.<br /><br />Up or down, agree or disagree, you won’t find better and more intelligent programming like this anywhere else.<br /><br /> Please consider making a donation to help keep us on the air with the kind of vigorous and refreshing set of perspectives that you just won't find on commercial radio.<br /><br />And tune in for my next program on Saturday morning, April 18th - information and links to follow.<br /><br />Thanks!<br /><br />Jimhttp://compvid101.blogspot.com/2015/04/a-time-for-giving.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-4877176048006816759Sun, 01 Feb 2015 02:40:00 +00002015-06-24T09:10:16.224-07:00NickBobJohnIn Memoriam Rod McKuen: "Love's Been Good To Me"<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-Vk_p-d6sOIk/VMxxuVIU6nI/AAAAAAAABFM/66sI1CaqC-k/s1600/McKc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Vk_p-d6sOIk/VMxxuVIU6nI/AAAAAAAABFM/66sI1CaqC-k/s1600/McKc.jpg" height="368" width="500" /></a></div><b><span style="font-size: large;">Rod McKuen's death on Thursday</span> </b>at the age of 81 was another one of those all-too-frequent-these-days John Donne moments, as in Donne's famous meditation on the connectedness of all people that climaxes with "Therefore never send to know for whom the bell tolls; It tolls for thee." That funeral bell tolls perhaps rather more loudly for McKuen than it may well do for many of the rest of us, because for several decades McKuen was a major force in U.S. popular culture, with his songs selling tens of millions of copies (generally recorded by higher-profile artists than McKuen was like Frank Sinatra, Andy Williams, Judy Collins, Glenn Yarbrough, Madonna, and many more) and his books of simple, emotional poetry appearing ubiquitously for some years on high school and college campuses throughout the land. By his own count, McKuen had recorded over two hundred albums and earned 63 gold and platinum records worldwide. In television and film, McKuen also racked up an impressive list of credits, as his IMDB page indicates <a href="http://www.imdb.com/name/nm0572106/">HERE</a>, and I recall seeing him quite accidentally and surprisingly one late night as an actor in a B western from the late 1950s. Yet though his death was treated as a major event in national newspapers and websites, it was often accompanied by the sort of "I always wondered what happened to him" reaction, or less kindly, "I didn't even know he was still alive."&nbsp; This was due in part because McKuen's fifteen minutes of fame had expired decades before, but also because a major bout of clinical depression stemming from an abusive childhood engulfed him in the 1980s, in his early mid-life when he had been at his most productive, and he disappeared from the public eye for some time. He emerged from that shadow later in the decade, but times and styles had passed him by. McKuen continued to work - to write, to score, to perform - right up until shortly before his death, though on a smaller stage and with less public acclaim.<br /><br />McKuen's name has appeared in the posts on this site with some frequency, primarily because the pop-folk groups of the late 1950s and early 1960s like the Kingston Trio, The Limeliters, The Brothers Four, and others were the first to record and attract wide attention to his songs, including tunes profiled on this site <a href="http://compvid101.blogspot.com/2012/08/seasons-in-sun.html">"Seasons In The Sun,"</a> <a href="http://compvid101.blogspot.com/2010/09/rod-mckuens-doesnt-anybody-know-my-name.html">"Doesn't Anybody Know My Name?",</a> and <a href="http://compvid101.blogspot.com/2012/03/world-i-used-to-know.html">"The World I Used To Know"</a>.&nbsp; I'd like to crib from myself a bit here from those earlier articles because they express better than any rewrite could what I have thought of McKuen through the decades. First -<br /><br /><i><span style="font-size: normal;">While I am not a fan at all of McKuen's attempts at poetry, I hold him in high regard as a composer and lyricist, one whose musical vision in both songs and orchestral compositions was so idiosyncratic and so out-of-step with the pop culture of his times that an artist whose songs sold tens of millions of recordings (and "Seasons In The Sun" as done by Terry Jacks is one of only a handful of single records with certified worldwide sales of ten million or more units), who had arguably the greatest pop vocalist of the last century record an entire album of his compositions (Frank Sinatra's 1969 <b>A Man Alone</b>), and who sold millions of books when a genuine bestseller scores in the tens of thousands in hardcover - this artist is nearly anonymous today, despite being a healthy and active senior citizen. So much for the glory of the world....Part of the problem with McKuen's legacy, and here I mean the fact that this artist whose works in different genres were wildly popular in their day (even though he never evolved into a leading performer himself) is so largely unknown to younger generations today and forgotten by his own, is that McKuen's music was never quite either fish or fowl - never traditional-sounding or protest-oriented enough to be remembered as folk but never quite complex enough to bear comparison with the work of great pop songsmiths like Cole Porter or Johnny Mercer.</span></i><br /><br /><span style="font-size: normal;">And more to the point of today's song -&nbsp;</span><i><span style="font-size: normal;"> </span></i><br /><i><span style="font-size: normal;"><br /></span></i><i>I always thought that McKuen the composer was at his best when, as with French writers like Brel, his lyrics and melodies were tinged with a kind of fin de siècle melancholy, a sadness as gentle as an autumn mist. Think, for instance, of the lyric derived from William Butler Yeats in McKuen's "Isle in the Water" - the subtle changes he makes to Yeats' poem and his original lines make even this love song quietly wistful. "Love's Been Good To Me" is one of the 60s best reflective ballads... </i><br /><br />"Love's Been Good To Me" is as fine a song as McKuen ever wrote at expressing quietly a sense of&nbsp; passing time and its attendant loss, and as such makes a fine eulogy for its composer. It is in its chord structure and lyric sensibility most definitely a mainstream pop number, and of course the best-known version was as a middling hit for Frank Sinatra, recorded for the aforementioned <i>A Man Alone</i> album.&nbsp; Yet interestingly, the song comes across most effectively in the roots-y performances below by Johnny Cash and the Kingston Trio, both of whom respect the song's pop origins but present it with minimal instrumentation and without the lush orchestrations common to most other versions - and as we will see at the end, it is this simpler and less ornate approach that McKuen himself took with the song in his later years.<br /><br />McKuen first recorded his song in early 1964:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/K0NHwKU_3gI?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/K0NHwKU_3gI?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />McKuen was self-taught as a musician, and in his early years as a performer in the late 1950s in San Francisco's North Beach clubs like The Purple Onion, he accompanied both his singing and his poetry reading with a simply-played guitar. However, his time in Paris with Jacques Brel from about 1960 through 1963 became for McKuen a kind of education in music theory and arrangement, and when he returned to the U.S., he did so with sufficient knowledge to score the orchstrations on many of his albums, as he did here.<br /><br />The first cover version of the tune was by the Kingston Trio, at the end of 1964 about six months after McKuen's original:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/BheWjoLFmtw?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/BheWjoLFmtw?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />The lead here is by Bob Shane, quite naturally since he had the best voice in the group and because he was the member most comfortable with pop numbers and Broadway tunes and the like. The Kingstons had never liked being characterized as "folk," and from their first album six years prior to this recording and on from there, the Trio had always included pop-styled selections, sometimes to the chagrin of their record labels Capitol and (here) Decca, which were trying to market the band as "folk." As wrong-headed as that was, it did have its advantages for the companies: neither label had to hire anyone to score and play orchestral arrangements to back the group, and the guitar-only accompaniment for this track enhances the effect of McKuen's quiet if sentimental lyricism.<br /><br />Johnny Cash had long been an admirer of McKuen, which might strike one as strange at first given Cash's identity as a country/rockabilly/roots artist - but The Man In Black responded most strongly to and recorded many of McKuen's earlier and folkier creations, and Cash featured McKuen several times as a guest on the former's long-running and highly-rated television show. It is no surprise then that Cash included a couple of McKuen tunes in his last studio sessions, the widely-lauded "American Recordings" for the label of the same name. In fact, the fifth album in the series is <i>A Hundred Highways</i>, the title clearly derived from the lyric of this song:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/R7JPwznm6e4?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/R7JPwznm6e4?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />Cash's aged, craggy voice at this late point in his life and career is perfect for the lyric, and I find it singularly affecting, as are many of Cash's other tracks from those last years of his life.<br /><br />Clearly, you can't talk about "Love's Been Good To Me" without including Frank Sinatra's rendition. Sinatra was so taken with McKuen's compositions that the <i>A Man Alone</i> LP includes only RM numbers, and "Love" was chosen as the flagship single from the album:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/xO8ElHrpUho?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/xO8ElHrpUho?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />The 45rpm reached only #75 on the <i>Billboard</i> Hot 100 but scored a number eight position on the adult/contemporary charts. The orchestration here is somewhat muted by Sinatra standards; Ol' Blue Eyes generally went for accompaniments that in many cases might today be described as over-done or schmaltzy...<br /><br />....which is why I especially like what McKuen is doing with his song here, in the television show from 2009 at Royal Theatre Carré in Amsterdam: <br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/0r0KI_H69Kc?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/0r0KI_H69Kc?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />There is a clear connection here to what Johnny Cash did with the tune. McKuen's vocals had always been throaty, but the addition of a few decades of wear and tear to his voice helps here to transform a ballad that might have seemed to be the superficial sentiments of a callow playboy when sung by a youth into a far more moving and reflective retrospection by an older man on a life now all-but-over. That is why for my money this last version and Cash's are the best ones ever waxed and help to transform a middle-of-the-road pop composition into something deeper and more satisfying. <br /><br />McKuen enjoyed a career that could be fairly described, like the artist himself, as bi-polar. He sold over a million books of poetry in 1968 alone - in an industry in which even then selling fifty thousand units would make a book a number one bestseller - but he was excoriated by serious critics with a savage vituperation that I have seldom seen launched at any other artist in my lifetime. As a lifelong devotee of poetry, I have never had much use for McKuen's verse - but did he deserve this, a day after his death?<br /><br /><a href="http://www.npr.org/2015/01/31/382851558/rod-mckuen-the-cheeseburger-to-poetrys-haute-cuisine">"Rod McKuen, The Cheeseburger To Poetry's Haute Cuisine"</a><br /><br />I think not. Neither his music nor his writing might be to everyone's taste, but his compositions of both spoke deeply to millions of people throughout the world, and that counts for something in my book - quite a lot, really. And so it was that I was pleased to see that McKuen may well have written his own epitaph in an interview in 2001 when he observed that, "I battled my way back to some kind of sanity by finally realizing I had absolutely nothing to be depressed about...I’ve had and am having a great life and I’ve never been happier. Besides, who knows how much time I have left on this earth? I have too much to do and too many things started and unfinished to afford the luxury of being unhappy."<br /><br />For that - good on ya, mate. <br /><br /> http://compvid101.blogspot.com/2015/01/in-memoriam-rod-mckuen-loves-been-good.htmlnoreply@blogger.com (Jim Moran)2tag:blogger.com,1999:blog-1875980412212682099.post-7501852102876339276Sun, 18 Jan 2015 04:40:00 +00002015-05-22T15:55:51.910-07:00RadioPodcastRoots Radio 2: Where The Time Goes - Songs For Seasons Of Change<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ox0MRhMXCK8/VLs0P8C3NRI/AAAAAAAABE8/Lo6z-dTYoGs/s1600/TimeGoes.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-ox0MRhMXCK8/VLs0P8C3NRI/AAAAAAAABE8/Lo6z-dTYoGs/s1600/TimeGoes.jpg" width="400" /></a></div>The second installment of podcasts from my radio show "Roots Music &amp; Beyond" on KPFK-FM in Los Angeles has now been published and is available here. As the playlist below it indicates, the song selections in this show are wide-ranging and eclectic, though unified by the overarching theme of changes in winter. I have gone a bit off the roots reservation, at least in the narrowest sense of the term, by including a pair of New Age-ish Windham Hill Records artists and some contemporary country as well. But overall there is a kind of quietude here, a kind of refraction of winter dreams and the snowy landscapes of the imagination. My promotional pieces pointed out that though we are in the middle of January, the daylight hours are already perceptibly lengthening into spring. The year has turned, with its inevitable wheeling of the seasons - or as Shelley wrote, "If Winter comes, can Spring be far behind?"<br /><br /><object height="85" width="440"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joeplayer_v21.swf'></param><param name='flashvars' value='minicast=false&jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fentry%2Fembed_params%2F2015-01-17T16_37_12-08_00%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dtrue%26height%3D85%26minicast%3Dfalse%26objembed%3D1%26width%3D440'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joeplayer_v21.swf' flashvars='minicast=false&jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fentry%2Fembed_params%2F2015-01-17T16_37_12-08_00%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dtrue%26height%3D85%26minicast%3Dfalse%26objembed%3D1%26width%3D440' wmode='transparent' menu='false' type='application/x-shockwave-flash' allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='440' height='85'></embed></object><br /><br /><div style="margin-bottom: 0in;"><span style="font-size: medium;"><b>Where The Time Goes: Songs For Seasons Of Change</b></span></div><div style="margin-bottom: 0in;"><br /></div><div style="margin-bottom: 0in;"><span style="font-size: normal;"><b>Intro Song: </b></span></div><div style="margin-bottom: 0in;"><span style="font-size: normal;"><b>Who Knows Where The Time Goes? - Judy Collins - <i>Colors Of The Day</i> - <span style="background: #ffffff;">4:53</span></b></span></div><div style="margin-bottom: 0in;"><br /></div><div style="margin-bottom: 0in;"><span style="font-size: normal;"><b>Change of Season </b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Sometimes In Winter - Blood, Sweat &amp; Tears -<i> BS&amp;T Greatest Hits</i> - Columbia/Legacy 3:06</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Song For A Winter's Night - Gordon Lightfoot - <i>All Live </i>- Warner Music Canada - 3:02</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Welcoming - Michael Manning - <i>Conversations With God</i> - Windham Hill - 4:52</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">A Hazy Shade of Winter - Simon and Garfunkel - <i>Bookends</i> - Columbia - 2:02</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Cold Weather Blues - Muddy Waters - <i>Delta Mudslide Blues</i> - Orange Leisure - 4:44</span></div><div style="font-weight: normal; margin-bottom: 0in;"><br /></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Season Suite: Winter - John Denver - Rocky Mountain High - RCA - 1:35 </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Footprints In The Snow- Bill Monroe &amp; His Blue Grass Boys - <i>The Essential Bill Monroe</i> - RLG - 2:35</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;"><b><span style="font-weight: normal;">Walking Through Your Town in the Snow - Jody Stecher &amp; Kate Brislin - Heart Songs - Rounder - 4:00</span></b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">The White Snows Of Winter - The Kingston Trio - <i>On A Cold Winter's Night</i>- Silverwolf - 2:47</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">If We Make It Through December - <i>Merle Haggard - If We Make It ...</i> - Capitol/Nashville - 2:42 </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Winter - Tori Amos - <i>Little Earthquakes</i> - Atlantic - 5:42</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;"><br /></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: normal;"><b>Change of Life, Change of Heart </b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Aerial Boundaries - Michael Hedges - <i>Aerial Boundaries</i> - Windam Hill - 4:40</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Changes - Phil Ochs - <i>Classic Folk Music</i> - Smithsonian Folkways - 4:19</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Old Friends/Bookends - <i>Simon and Garfunkel Live 1969</i> - Columbia Legacy - 3:18</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;"><br /></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Urge For Going - Tom Rush - <i>The Circle Game [Expanded/Remastered]</i> - Rhino/Elektra - 5:48 </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Church Street Blues - Tony Rice - <i>Church Street Blues</i> - Sugar Hill Records - 3:07</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Kansas - John Stewart - <i>Phoenix Concerts</i> - RCA - 3:36</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;"><br /></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Winter - Joshua Radin - <i>We Were Here</i> - Columbia - 3:23 </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Second Avenue - Tim Moore - <i>Tim Moore</i> - Rhino/Elektra 3:56</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Colder Weather - Zac Brown Band - <i>You Get What You Give</i> - Atlantic/Southern Ground - 4:33</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">Northern Sky - Nick Drake - <i>Bryter Layter</i> - Island Records - 3:43</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: normal;">The Circle Game - Joni Mitchell - <i>Dreamland</i> - Rhino/Elektra - 4:51 </span></div><div style="font-weight: normal; margin-bottom: 0in;"><br /></div>http://compvid101.blogspot.com/2015/01/roots-radio-2-where-time-goes-songs-for.htmlnoreply@blogger.com (Jim Moran)0tag:blogger.com,1999:blog-1875980412212682099.post-3464056708308807552Fri, 26 Dec 2014 01:57:00 +00002016-12-08T09:17:28.575-08:00LastMonthFor The Season #7: "The Coventry Carol/Lully, Lullay Thou Little Tiny Child"<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-cvlROtogbvQ/VJtPgo_zQJI/AAAAAAAABDM/Bzi79aepmMg/s1600/640px-1824_Navez_Das_Massaker_der_Unschuldigen_anagoria.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="350" src="https://1.bp.blogspot.com/-cvlROtogbvQ/VJtPgo_zQJI/AAAAAAAABDM/Bzi79aepmMg/s320/640px-1824_Navez_Das_Massaker_der_Unschuldigen_anagoria.JPG" width="400" /></a></div><i><span style="font-size: small;">(L -&nbsp; François-Joseph Navez, 'The Massacre of the Innocents,' 1824)</span></i><br /><span style="font-size: normal;"><span style="font-size: normal;"><span style="font-size: large;"><b>The seasonal celebrations </b></span>that occur around the winter solstice, psychologists tell us, are for many people fraught with an anxiety and sadness that is usually incomprehensible to those who have never endured it. It seems contradictory at first: this season that across religions and cultures and millennia is the joy-filled welcoming of the return of the sun and the lengthening of daylight hours through the newly-minted winter and into the spring just does not seem to correlate with a darkness and despair that would appear to be more appropriate to autumn. But that "black dog" of depression, as Winston Churchill termed it, bides its time in the deepest recesses of the mind and heart, awaiting its chance and any excuse to pounce and to tear at the peace and well-being of the lonely and the fragile.</span></span><br /><br /><span style="font-size: normal;"><span style="font-size: normal;">It may be Seasonal Affective Disorder; it may be a bit of good old Kierkegaardian existential angst; it may be simply a consequence of the dissonance between the perceived happiness of others and the quiet desperation of one's own soul as the year draws to an end. But whatever its source, this profound sadness affects millions during the solstice celebrations, a melancholy counterpoint to the joys and reunions and feasts inherent in the holidays. And perhaps surprisingly, this dark thread through the red and gold fabrics of Christmas extends itself even into the music of the day, nowhere more so than in "The Coventry Carol," whose&nbsp; tragedy is derived from scripture and theology but that I do believe bears some relation, however apparently obliquely, to that Yule-related black dog. More on that connection later.</span></span><br /><br /><span style="font-size: normal;"><span style="font-size: normal;">"The Coventry Carol" is very, very old, dating back in all likelihood to the middle of the fourteenth century, a point immediately evident to anyone with even a smattering of familiarity with late medieval music, since "Coventry's" musical setting in a minor key resolving into a final major chord is typical of much of the other music that survives from that long-vanished era. Some sources erroneously report the song as a product of the 16th century, but that results only from the fact that the lyrics were first published in 1534. There is reliable evidence, however, that </span></span><i>The Shearmen and Tailors' Pageant,</i> the play for which the piece was composed, was performed as early as the 1370s and perhaps even earlier.<br /><br />The so-called "Massacre of the Innocents," the Biblical tale that provides the inspiration for the lyrics of the song as the mothers of Bethlehem mourn the approaching murders of the babes to whom they sing, is itself an oddity. The story appears only in <i>The Gospel of St. Matthew</i>, strange because <i>Matthew</i> is one of the three "synoptic gospels" whose plots and incidents are nearly identical and which may well be derived from an older proto-gospel - and neither <i>Mark</i> nor <i>Luke</i>, the other two Synoptics, make mention of the event. The "raging Herod" motif is common enough, befitting a character who in history was ruthless and desperate enough to have his own sons executed for fear they would usurp his throne, and that bit of unpleasantness may well have given rise to this otherwise unsubstantiated account of the slaughter of male babies whom Herod feared might replace him.<br /><br />As with most of the physical events described in the <i>New Testament</i>, the jury is still and probably permanently out as to the historicity of this event. Guided by faith, literalists will accept it as fact; guided by doubt, skeptics will scoff. Most middle-of-the-road scholarship leaves the factuality question alone in favor of trying to understand the metaphorical significance of the story in the larger context of the gospel message - which also creates some problems, as below.<br /><br />But the peasantry and yeomanry of 14th century England (and not coincidentally the scores of medieval and Renaissance painters who used the motif)&nbsp; had no such confusion; for them, the Massacre was a real event, a fitting reminder of the degenerate nature of sinful humankind, and one deserving of memorialization in this lovely but heart-rendingly tragic carol. I think we can catch a sense of the original sound of the song in this acoustic instrumental solo by Trond Bengtson, performed most appropriately on a medieval-styled lute:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/g_iPm3vhG58?version=3&amp;hl=en_US&amp;rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/g_iPm3vhG58?version=3&amp;hl=en_US&amp;rel=0" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />Bengtson has chosen a slow and measured rhythm for his performance, fully in keeping with the pace of most medieval pieces and accentuating the deep, despairing sadness of the event. Likewise, The Robert Shaw Chamber Singers, an offshoot of Shaw's famous Chorale, here in 1993 deliver the lyric with similar pacing:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/-s_n_ycNvP8?version=3&amp;hl=en_US&amp;rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/-s_n_ycNvP8?version=3&amp;hl=en_US&amp;rel=0" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />Shaw breaks one of his own precedents here. His arrangements were often built around the male baritone section singing the lead on the melody; here, in keeping with the plaint of the grieving mothers, the lead belongs to the sopranos. My friend, the late Joe Frazier of Chad Mitchell Trio fame, had been one of those aforementioned baritones in this group in the years before he joined the CMT.<br /><br />"The Coventry Carol" quite naturally lends itself to female voices and interpretations, and scores of the popular music world's best sopranos like Joan Baez and Hayley Westenra and more have recorded excellent versions, for the most part with full orchestrations. Given my preference for the simplicity of acoustic folk music, however, the soloist I want to present here is a 20-year-old amateur who looks rather younger and who lives in Indonesia. Her real name is Saskia Kusrahadianti and her YouTube username is ScheherazadEify. Either way - you really need to hear this:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/RluLVVxOCow?version=3&amp;hl=en_US&amp;rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/RluLVVxOCow?version=3&amp;hl=en_US&amp;rel=0" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />That's a lot of voice coming from so diminutive a person. Her lyric interpretation is outstanding, and she makes the interesting artistic choice to end each verse on a minor chord without the resolution to the major heard in most every other arrangement.<br /><br />Most, but not all. This next is the track that leads off the Kingston Trio's highly original and now-classic 1960 <i>Last Month of the Year</i> holiday album. Beyond creating an instrumental setting that employs a celeste and bouzouki, the Trio makes an interesting thematic choice for the verse-ending major or minor decision:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/pYC1Lkym_tE?version=3&amp;hl=en_US&amp;rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/pYC1Lkym_tE?version=3&amp;hl=en_US&amp;rel=0" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />The Kingstons are splitting the difference, so to speak. The last chord of each of the first two verses is a minor, with the attendant sadness implied by that. The third and final verse, however, ends on the major - a resolution, as it were, from dark to light. Given the lyric, this cannot quite be termed a happy or uplifting conclusion; rather, it sounds as if it is intended as the one ray of possibility in the stormy nightmare that the song describes.<br /><br />And that would be entirely fitting, given the Massacre's strange place in the canon of Christian lore. Some scholars suggest that it is simply a literary device employed by the author of <i>Matthew</i> to effect a kind of fulfillment of prophecy from earlier scriptures. Others, as I note above, regard it as an example of an inherent evil, the "total depravity" of the individual soul that necessitated the birth of a savior who was destined to endure a savage and sacrificial execution in order to redeem unrepentant humanity. That dark thread of death pervades other Christmas carols, ancient and modern. The myrrh of the funeral appears in nearly every Three Kings carol, and the savior's death itself is referenced in others, like the more modern "I Wonder As I Wander." "The Coventry Carol" implies this as well: a world so brutal that innocent children can be murdered at the whim of a sociopathic monster is one in desperate need of salvation, a salvation hinted at in the final major chord of the original song and the Kingston Trio's arrangement.<br /><br />In a larger sense, too, "The Coventry Carol" glosses in a way on the seasonal despair with which I opened this essay. The mothers in the song articulate their grief over the coming loss of their sons and in so doing express what is always most tragic about death, for the survivors of the departed, at least. It is not simply the end of another's life; it is the ultimate and permanent separation from that beloved other that induces the wild grief we all know too well. Those among us who suffer loneliness and alienation and disaffection at this time of year do so largely because of isolation and separation, and we could wish that, just as the birth of the baby in Bethlehem promises the possibility of eventual reunion with those now gone, those who so suffer can find their own major chord resolution into light at some time during this, the season of light.<br /><br />_________________________________________________________<br /><br />*The first six songs in this series of holiday-related folk tunes include #1 <span style="font-size: 85%; font-style: italic; font-weight: bold;">- </span><a href="http://compvid101.blogspot.com/2008/12/for-season-we-wish-you-merry-christmas.html" style="font-weight: bold;">"We Wish You A Merry Christmas"</a><span style="font-weight: bold;">; #2 - </span><a href="http://compvid101.blogspot.com/2009/12/for-season-2-all-through-nightar-hyd-y.html" style="font-weight: bold;">"All Through The Night/Ar Hyd Y Nos"</a><span style="font-weight: bold;">; #3 - "</span><a href="http://compvid101.blogspot.com/2010/12/for-season-3-when-was-jesus-bornthe.html" style="font-weight: bold;">When Was Jesus Born/The Last Month Of The Year</a>"; #4 - <a href="http://compvid101.blogspot.com/2011/12/for-season-4-gloucestershire-wassail_23.html"><span style="font-weight: bold;">"Gloucestershire Wassail Song"</span></a>; #5 - <a href="http://compvid101.blogspot.com/2012/12/for-season-5-noel-nouveletsing-we-here.html"><b>"Sing We Here Noel</b>"</a>; and #6 - <b><a href="http://compvid101.blogspot.com/2013/12/for-season-6-bitter-withymary-mild.html">"The Bitter Withy/Mary Mild."</a></b> Other Christmas-themed articles on CompVid101 include <b><a href="http://compvid101.blogspot.com/2012/12/shane-and-drakes-white-snows-of-winter.html">"The White Snows Of Winter"</a></b>, <a href="http://compvid101.blogspot.com/2011/12/children-go-where-i-send-thee.html" style="font-weight: bold;">"Children, Go Where I Send Thee"</a><span style="font-weight: bold;">, </span><a href="http://compvid101.blogspot.com/2011/01/edric-connor-and-virgin-mary-had-baby.html" style="font-weight: bold;">"The Virgin Mary Had A Baby Boy"</a><span style="font-weight: bold;">, </span><a href="http://compvid101.blogspot.com/2010/01/riu-riu-chiuguardo-del-lobo.html" style="font-weight: bold;">"Riu Riu Chiu/Guardo Del Lobo"</a><span style="font-weight: bold;">, </span>and<span style="font-weight: bold;"> </span><a href="http://compvid101.blogspot.com/2011/09/go-tell-it-on-mountain.html"><span style="font-weight: bold;">"Go Tell It On The Mountain".</span></a><br /><br />http://compvid101.blogspot.com/2014/12/for-season-7-coventry-carollully-lullay.htmlnoreply@blogger.com (Jim Moran)3tag:blogger.com,1999:blog-1875980412212682099.post-3864134972832160154Tue, 02 Dec 2014 07:40:00 +00002015-12-21T09:04:50.577-08:00RadioPodcastRoots Radio: Hard Times - Songs For Our Next Great DepressionAfter an extended break, I expect to get back to posting regular articles again soon, in time for the holidays. I've been working on my other folk music venture, the monthly two hour radio show that I do here in Los Angeles. I had been wanting for more than 2 1/2 years to figure out a way to preserve my shows beyond the two weeks that they have been archived at the station. I thought that capturing the audio and getting it onto the web would be some sort of arcane and expensive process - until I found, like Dorothy and the ruby slippers, that I had all that I needed under my nose on my computer all the time (Audacity and Nero, for those of a technological bent of mind). So - hurling my work out into the cosmos for all time - here is the podcast for Nov. 15th's "Hard Times: Songs For The Next Great Depression" with playlist following.<br /><br /><object height="405" width="540"><param name='wmode' value='transparent'></param><param name='menu' value='false'></param><param name='movie' value='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf'></param><param name='flashvars' value='jsonLocation=http%3A%%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540'></param><param name='allowFullScreen' value='true'></param><param name='allowscriptaccess' value='always'></param><embed src='http://moranjimk.podomatic.com/swf/joe_multiplayer_v112.swf' flashvars='jsonLocation=http%3A%2F%2Fmoranjimk.podomatic.com%2Fembed%2Fmulti%2F0%3Fcolor%3D43bee7%26autoPlay%3Dfalse%26facebook%3Dfalse%26height%3D405%26objembed%3D1%26width%3D540' wmode='transparent'menu='false'type='application/x-shockwave-flash'allowscriptaccess='always' allowfullscreen='true' version='10.0.0' width='540' height='405'></embed></object><br /><br /><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Hard Times - Songs For The Next Economic Disaster</b></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Saturday November 15, 2014</b></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Opening: Hard Times, Come Again No More - Kate &amp; Anna McGarrigle et al. -Transatlantic Sessions - Whirlie Records - 4:05</b></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Times Are Getting Hard, Boys</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Times Are Getting Hard, Boys - Tom Paxton - <i> Seeds: Songs Of Pete Seeger, Vol. 3</i> - Appleseed - 2:53</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Panic of 1837 - Jayber Crow - <i>Two Short Stories</i> - Dualtone Music - 3:19</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">I Ain't Got No Home In This World - Woody Guthrie -<i> Dust Bowl Ballads</i>- Sony - 2:44</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Nobody Knows You - Scrapper Blackwell - <i>Scrapper Blackwell, 1959-1960</i> - Document - 3:12</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Brother, Can You Spare A Dime? - The Weavers - <i>Folk Music</i> - Welk Music Group - 2:40</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">The Panic Is On - Hezekiah Jenkins - <i>The Panic Is On</i> - Shanachie 3:25</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Oldest Living Son - John Stewart - <i>Phoenix Concerts</i> - Sony - 3:00</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Poverty Hill - Southwind - <i>Every Now and Then</i> - Home Cookin' Music - 3:05</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Them Belly Full - Bob Marley - <i>Natty Dread (Remastered)</i> - Island Records - 3:09</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><a href="https://www.blogger.com/null" name="eow-title"></a><a href="https://www.blogger.com/null" name="watch-headline-title"></a>How Can a Poor Man Stand Such Times and Live - Alfred "Blind" Reed - <i>Poor Man's Heaven</i> - RCA/Bluebird - 3:15</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">How Can a Poor Man Stand Such Times and Live - Ry Cooder -<i> Ry Cooder</i> - Warner - 2:42</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Coat of Many Colors - Dolly Parton - <i>Coat Of Many Colors</i> - RCA - 3:04</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">The Banks Are Made of Marble - RUNA - <i>Current Affairs</i> - Runa Music - 3:07</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Working And Poor</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Pastures of Plenty - Dave Van Ronk - <i>Just Dave Van Ronk</i> - Mercury - 3:30</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Hard Travelin' - The Kingston Trio - <i>Make Way/Goin' Places</i> - Collector's Choice - 2:31 </span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Workin' Man Blues - Merle Hagard - <i>Merle Haggard 16 Biggest Hits</i> - Epic - 2:33</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Born In The USA - Bruce Springsteen -<i> Born In The USA</i> - Columbia - 4:36</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Survivors - John Stewart - <i>Wingless Angels</i> - RCA - 4:00</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>Working And Poor II - The Coal Mines</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Sixteen Tons - Merle Travis - <i>Legends of Country Music</i> -Austin City Limits - 4:14</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Coal Tattoo - Red Molly - <i>Never Been To Vegas</i> - RdMl - 3:08</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Coal Miner Blues - Flatt&amp;Scruggs - <i>Hard Travelin'</i> - Legacy -2:29</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Coal Miner's Daughter - Loretta Lynn - <i>Coal Miner's Daughter </i>-American Legends - 3:13</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;"><br /></span></div><div style="margin-bottom: 0in;"><span style="font-size: large;"><b>2008</b></span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Loudon Wainwright - Times Is Hard - <i>10 Songs For The New Depression</i> - Cummerbund - 2:54</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Other People's Money - Steve Gillette - Compass Rose Music - 2:49</span></div><div style="font-weight: normal; margin-bottom: 0in;"><span style="font-size: large;">Take Our Country Back Again - Jerre Haskew - Fiery Gizzard Music - 3:38</span></div><div style="margin-bottom: 0in;"><br /></div>http://compvid101.blogspot.com/2014/12/roots-radio-hard-times-songs-for-our.htmlnoreply@blogger.com (Jim Moran)1tag:blogger.com,1999:blog-1875980412212682099.post-2161493913905136696Thu, 01 May 2014 21:49:00 +00002014-05-01T23:04:54.774-07:00Other ArtistsJudy Collins: A Retrospective On Her 75th Birthday<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-625lMwYVobA/U2KoXCBnpWI/AAAAAAAABBk/VwzCVaJf-fc/s1600/18504-original-JudyCollinsJudy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-625lMwYVobA/U2KoXCBnpWI/AAAAAAAABBk/VwzCVaJf-fc/s1600/18504-original-JudyCollinsJudy.jpg" height="310" width="400" /></a></div><span style="font-size: large;"><b>Judy Collins, a genuine national treasure</b></span>, turns 75 today. Probably no other single artist has been at the very center of my musical soul for the last 50 years and more, and not simply for the stunning clarity of her voice or the impeccable taste of her song selections and arrangements and her too-infrequent compositions. Collins' growth as a concert performer, her restless and daring search for different forms of expression, and her commitment to both her craft and her convictions make her for me the very personification of what an artist should be. She has enjoyed an enormous commercial success without ever seeming to have been corrupted or confined by it, and while my deepest affection for her music lies in her earliest efforts as a solitary folk musician performing traditional songs accompanied only by her very well-played guitar, I appreciate equally the fact that Collins has been able to transcend categorization to become simply one of America's greatest singers over the last half a century.<br /><br />Collins has also written seven books, most of them autobiographical and three dealing with the personal tragedy of the loss of her son to suicide. However, unlike many of the performers of today - and I would add especially the legion of lesser female singers who make more money even than Collins ever did for work of stupendously inferior quality to hers - Collins never lived her life in the tabloids or other similarly salacious media. Her biography is interesting and at times moving, and for those so inclined there is a fairly good summary of it <a href="https://en.wikipedia.org/wiki/Judy_Collins">HERE</a>. But I am old enough and old-school enough to have little interest in that beyond what she herself has chosen to share in her books. Judy Collins is first and foremost a great performing artist, and even presenting a modest sampling of that art is challenge enough for one article.<br /><br /><b>Judy Collins, Folksinger</b><br />A recent article noted that the brilliance of Collins' vocals often obscured what a fine guitarist she was. She showed what I would term a creative fidelity to the roots of the folk songs she performed, as here. Collins never tried to act the part of a rural inheritor of the folk tradition; she was an educated, modern woman who was comfortable presenting old songs in a contemporary idiom - a genuine urban traditionalist, but in the broader and not the more restrictive meaning of the term. <br /><br />&nbsp;<object height="360" width="480"><param name="movie" value="//www.youtube.com/v/fnpwiMTVkxI?hl=en_US&version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/fnpwiMTVkxI?hl=en_US&version=3" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/cBuJ9imnaVM?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/cBuJ9imnaVM?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><b>Judy Collins, Composer - Singer-Songwriter</b><br />Collins has only<b> </b>about twenty songs copyrighted under her own name<b>. </b>These are two of the best, and they have always left me wishing she had written at least twenty more. They demonstrate what happens when a lyricist with real poetic flair combines in a composer who actually studied music formally. I believe the word that I am searching for here, and one that I would append to nearly no other of the 60s era singer-songwriters, is "sublime."<b><br /></b><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/bYsqq3_FXCw?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/bYsqq3_FXCw?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/5rhSH1hjptc?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/5rhSH1hjptc?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><b>Judy Collins, Interpretive Artist</b><br />It is worth noting, I think, that except for Seeger, not one of the composers whose work Collins is interpreting here was a tenth as well-known as she was at the point in time that she first waxed their songs. The fact that each is today regarded as a major artist is due in part to the high profile that Collins gave to their work early in their careers. <b><br /></b><br /><br /><i>Of and with Pete Seeger</i><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/ZHarJn1Bjh0?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/ZHarJn1Bjh0?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><i>Of Joni Mitchell</i><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/NFlv_CKIE9w?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/NFlv_CKIE9w?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><i>Of Leonard Cohen</i><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/NkamRumVXn4?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/NkamRumVXn4?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><i>Of Bob Dylan</i><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/Bq1NXeQv1io?hl=en_US&version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/Bq1NXeQv1io?hl=en_US&version=3" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><i>Of Ian Tyson</i><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/4nqLD-dN1qc?version=3&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/4nqLD-dN1qc?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><i>....and more recently, Collins performing a Sandy Denny song that she first recorded in 1970.</i><br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/onKhceL303M?hl=en_US&version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/onKhceL303M?hl=en_US&version=3" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />I saw Collins in concert about a year and a half ago at the Carpenter Theater at Long Beach State. She has lost only a little of the supple flexibility and beauty of her voice through all the decades of her career, and as might be expected, the range and emotional power of her interpretive abilities has only broadened and deepened with age. Fortunate indeed are those of us who know her work: she has the voice of an angel and has graced our national musical life for more than half a century now, and I hope for many more years to come.http://compvid101.blogspot.com/2014/05/judy-collins-retrospective-on-her-75th.htmlnoreply@blogger.com (Jim Moran)7tag:blogger.com,1999:blog-1875980412212682099.post-4210595710967783245Mon, 17 Mar 2014 22:35:00 +00002014-03-17T15:35:02.523-07:00Other Artists"Bound For South Australia"<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-4La07g2yvDo/UydFQc6KihI/AAAAAAAABBA/1Ckc3FTONhk/s1600/ery_humm_2007_2268_large.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-4La07g2yvDo/UydFQc6KihI/AAAAAAAABBA/1Ckc3FTONhk/s1600/ery_humm_2007_2268_large.jpg" height="324" width="480" /></a></div><span style="font-size: normal;"><b>The general and often foolish gaiety </b></span>that accompanies most St. Patrick's Day celebrations here in the U.S. serves two purposes. First and more obviously, the hats and parades and buttons and green-dyed rivers and all afford those of us of Irish descent a moment or two per year where we are able to assert a degree of kinship with a mythic and far-off land that many of us have never seen but from which our ancestors emigrated, usually many generations prior. In this respect, St. Patrick's Day in America differs little from the ways in which New York City's Italian-American population for decades observed October's Columbus Day, or the great Southwest's Mexican-Americans continue to celebrate Cinco de Mayo, a relatively minor holiday in Old Mexico that has been inflated into a major commercial event hiding behind a <i>fiesta</i> here in <i>El Norte</i>. But second and less obviously, the public demonstrations of pride and joy in one's Hibernian roots, especially in Boston, New York City, Chicago, and other eastern and midwestern metropolises, acts as a counter-balance to an inherent and often oppressive melancholy that seems to be part of the Irish character, however much it may be mitigated by residence in countries like the U.S. and Canada and Australia that are far more congenial to people's hopes and aspirations than the mother country ever was for most of its long and troubled history. As quintessentially-Irish poet and playwright William Butler Yeats remarked about one of his characters, "He had an abiding sense of tragedy, which sustained him through temporary periods of joy." Amen.<br /><br />In Ireland, traditional St. Patrick's Day celebrations were much different than the "sure an' begorrah" fakery prevalent in&nbsp; the U.S. Families would attend an early morning mass - it is, after all, a saint's day - and would assemble for a mid-afternoon dinner. Soda bread, yes - but corned beef and cabbage is an American invention, largely because beef brisket was the absolute cheapest cut available to the immigrants in 19th century, and beef of any kind was a luxury item unaffordable to the vast majority of the residents of the old country. Most of the Irish were lucky to get fish into their diets on occasion; for a real feast, mutton was the likelier main course for the relatively affluent and chicken or maybe mackerel for the majority. The St. Patrick's Day parades, which may have originated in the U.S., sprouted up in Ireland as dangerous and revolutionary acts of defiance against British rule. They were fraught with the risks of violence or arrest - in British-occupied Ulster well into the 1970s - and served as a rallying point for Irish nationalism, as surely as was "the wearin' of the green," equally suppressed by our English friends, who never quite seemed to understand why those troublesome Celts refused to embrace the high honor of being annexed into the British Empire along with Africans and Indians and other unlettered primitives around the world.<br /><br />The political repression and the countless failed revolutions were at least as influential as the Great Hunger of the 1840s in impelling millions of the Irish to seek sunnier shores in the middle and late 19th century. To America and Canada they came in droves, of course, to labor in factories and build railroads and homestead land on the Great Plains ten times richer than they ever could have imagined existed. But they also went in significant numbers to Australia, both as convicts from the country's very beginnings at Botany Bay in the 1790s and as emigrants through the next hundred years. In fact, it could be argued that whatever the "national character" of Australia may be today, it is far more shaded by the influence of its Irish transplants than either of those of the U.S. or Canada. To Australia, the Irish brought their abiding love for horses and sheep and strong drink along with their undiminished abhorrence of British tyranny. They also brought their ballads&nbsp; - and thus helped to shape the musical aspects of the emergent Australian folk culture.<br /><br />"Bound For South Australia" is with "The Wild Colonial Boy" among the absolute best examples of the Irish-Australian ballads. Its rollicking tempo, its idealization of "Miss Nancy Blair" (who may well be a lady of the evening profession), and its chest-thumping pride in surviving the brutal gantlet of a sea passage around Cape Horn - these elements connect the tune most clearly and emphatically to similar Irish songs and sea shanties like "The Holy Ground" and "Haul Away, Joe." Scholar and folksinger A.L. Lloyd (an Englishman, for what that's worth) identifies "South Australia" as a capstan shanty, with its repeated "Heave away, haul away" fulfilling the same function of providing a rhythm for the backbreaking work of raising anchor or hoisting sails that "Way, haul away/We'll haul away, Joe" does in the aforementioned tune. "South Australia" first appears in print in the 1880s, and though it is likely somewhat older than that, it cannot be by much - anyone who was born in South Australia as in the lyric could hardly have been so prior to perhaps 1830 or thereabouts - there just weren't many women among the transported convicts who formed the bulk of the country's earliest population.<br /><br />Lloyd recorded the song in 1958, and there do not seem to be many waxings earlier than that, though the song enjoyed a robust popularity Down Under through the normal folkways of oral transmission and school sing-alongs and the like. "South Australia" became a high-profile part of the English-language ballad repertoire, however, through this 1962 recording by The Clancy Brothers and Tommy Makem, who were riding the crest of a phenomenal popularity first in America and then in their native Ireland:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/8AeKimjRIn0?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/8AeKimjRIn0?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />The group took especial care with this track and most of the others on <i>The Boys Won't Leave The Girls Alone</i> on Columbia Records, the band's first real, professionally-produced studio album. In concert, the Clancys' only instrumental accompaniment at the time was brother Liam's effective but very simple guitar work, with occasional additional backing by Tommy Makem on pennywhistle or banjo, which Makem was still learning to play. For "South Australia," however, producer and band bass player Robert Morgan recruited an all-star line-up, with top-flight jazz musician Bill Lee (father of filmmaker Spike) on bass, studio pro and classically-trained John Stauber on guitar with the irrepressible Bruce Langhorne (both names should be familiar to all fans of early '60s folk recordings), and banjo by Eric Weissberg, member of The Tarriers and a decade later the player on "Dueling Banjos" in the film <i>Deliverance</i>. Weissberg also just happens to be one of the two or three best, most versatile, and most influemtial of all the musicians to come out of the folk revival in America. Harmonica support comes from eldest Clancy brother Paddy.<br /><br />Most subsequent versions of "South Australia" can be traced in melody and lyric to the Clancys - but predictably, not that of Ireland's other great ballad group, The Dubliners, who have their own arrangement:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/9eIHuGjrC0k?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/9eIHuGjrC0k?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />This is one of the last performances of the almost-original group, including founding member Ronnie Drew, now departed, and lead sung by the late, great Barney McKenna, who died just two years ago. Though McKenna is singing here to a simple fiddle accompaniment, he was probably the greatest tenor banjo player of the whole revival period, in Ireland or anywhere else.<br /><br />While I have never been a big fan of The Pogues' approach to Irish folk music, they have always brought an undeniable energy to their style, and I rather like what they do with the tune here:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/lM5x3TJpP24?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/lM5x3TJpP24?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />Lead singer Shane McGowan's throaty bellowing seems more appropriate here than it does on many of the band's other cuts. IMO, of course.<br /><br />Oddly enough, it was difficult to find a video of an actual Australian singing the song. The Bushwackers Band is a fine Aussie band, but their version is a bit limp, so we turn instead to Salty Pete:<br /><br /><object height="360" width="640"><param name="movie" value="//www.youtube.com/v/aCnPS5o86dM?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/aCnPS5o86dM?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />Pete's pronunciation of all the "aways" in the tune are a dead giveaway as to his country of origin.<br /><br />Now, no Aussie musician today is more revered - and justifiably so - than master guitarist Tommy Emmanuel. Here, complete with flubs and outtakes, is Emmanuel's instrumental of "South Australia" with "The Sailor's Hornpipe" cut in for good measure:<br /><br /><object height="360" width="480"><param name="movie" value="//www.youtube.com/v/lgtx9MXfSXI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/lgtx9MXfSXI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br />You almost want to believe that you are seeing CGI here. Human hands just cannot be capable of such speed and dexterity - can they?<br /><br />"Bound For South Australia" has been one of my favorite Irish-based ballads since I was a boy decades ago. It is simple, direct, energetic, and maybe just a tad naughty to boot - an unbeatable combination, as far as I am concerned. In fact, this being St. Paddy's Day and all - I think I'll post this, pour a glass of Jameson's, take out the trusty old Martin D18 on which I learned the song, and sing me some choruses of "South Australia." I have, as Errol Flynn's character remarks in<i> Captain Blood</i>, "the honor to be Irish," by extension at least, and I can think of no more satisfying ways of celebrating my ethnic heritage today.<br /><br /><br /><br /><br />http://compvid101.blogspot.com/2014/03/bound-for-south-australia.htmlnoreply@blogger.com (Jim Moran)7